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COPYRIGHT DEPOSIT 



—THE— 

Expert Sign Painter 



A BOOK OF REFERENCE DESIGNED FOR 

THE USE OF PRACTICAL SIGN 

PAINTERS & LETTERERS 

BY 
A. ASHMUN KELLY 

Formerly Instructor at the Indianapolis Technical Institute 

And now Editor and Publisher of the 

MASTER PAINTER 



Copyright by 

A. ASHMUN KELLY 

1911 
Entered at Stationers Hall 



MALVERN, PENNSYLVANIA. U. S. A. 



Press of The Horace F. Temple Printing: and Stationery Co. 
West Chester, Pa. 







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TABLE OF CONTENTS 



PAGE 
Preface 3 

CHAPTER I. 

AN fflSTORICAL SKETCH. 

Grecian and Roman Signs — Symbolic Signs — English Artist 
Sign Painters — Benedict Arnold's Sign — Riley, Poet and 
Sign Painter — Some Famous American Sign Painters — 
Introduction of Art of Gilding on Glass — Origin of 
Trick of Cuttmg Leaf With the Finger Nail — Inven- 
tion of the Wire Sign — Introduction of Wooden Let- 
ters — Beginning of the Electric Sign — Definition of Sign 
Painting — History of Letters and Numerals 7 

CHAPTER 11. 

LETTERING AND LETTERS. 

Lettering Considered from the Artistic and Mechanical 
Standpoints — Correct Lettering Necessary — The Vari- 
ous Types of Letters — Proportioning Letters — Ex- 
tended and Condensed Letters — Block Letters — Spacing 
Letters and Words — Punctuation 18 

CHAPTER III. 

THE SHADING OF LETTERS. 

The Several Forms of Shade, Relief, Close, Double, Drop, 
Double Relief, and Blend — Purpose of Shading Let- 
ters — At What Angle — The Block Letter Shaded — Laws 
Governing Shading — Colors Used in Shading — Many 
Fine Effects Given — Shading on Glass — Color Notes. ... 29 

CHAPTER IV. 

SCROLL WORK IN SIGN PAINTING. 

Scroll Work Described — When Necessary or Allowable — 
Scroll Work — To Shade Gold Scrolling — Oil Sizing 
Letters and Scroll Work 35 



PAGE 

CHAPTER V. 

F01iMr\(; TllK ELLIPSE OVAL, CURVE, OCTAGON, STAR AND 
HORIZONTAL LINE. 

Confusion of Terms, Oval and Ellipse — How to Make an 
Ellipse — The String and Tacks the Best Way — The 
Trammel — How to Form Curved Lines — Laying Out a 
Star — Alaking a Double Star — Making a Large Circle — 
How to Get a True Horizontal Line with Plumb-line 
and Dividers — To Form an Octagon "iS 

CHAPTER VL 

WAGON AND RAILWAY CAR LETTERING. 

Styles of Letters Employed — How to Shade — Spacing and 
Punctuation — Lettering Wagon Panels — ^Making Skele- 
ton Letters — Decalcomania Letters for Passenger 
Cars 4i: 

CHAPTER Vn. 

BRUSHES AND LETTERING PENCILS. 

Full Description of the Various Kinds and Sizes of Letter- 
ing Tools Used — Which to Use for the Kind of Work in 
Hand — How to Care For Pencil and Brush — How to 
Judge a Pencil or Brush 47 

CHAPTER VHL 

Tin; COKKECT USE OF COLOR IN SIGN WORK. 

A Useful Color Combination Table — List of Color Notes 
of Practical Value — Which Colors Look Best — Colors in 
Combination; What to Use and What to Avoid — Glossy 
and Flat Colored Letters, Etc 58 

CHAPTER IX. 

THE PIGMENTS USED IN SIGN PAINTING. 

A List of Colors Needed and What Their Quality Should 
Be— The Whites— The Blacks— The Blues— The Reds- 
Transparent Color — Permanency of Color — Colors Af- 
fected by Lime: Thos? Unaffected 50 

CHAPTER X. 

CONSTRUCTING AND PREPARING THE SIGN BOARD. 

Selecting the Lumber — Width of Boards — Putting a Sign 
Board Together — Canvasing a Sign Board — Painting 
the Back — General Remarks 62 



PAGE 

CHAPTER XL 

PRIMING AND PAINTING THE SIGN BOARD. 

Importance of— Priming and Sandpapering, Etc.— Sand- 
papering, Shellacing and Puttying— Second and Third 
Coats — Making an Extra Good Surface — Blistering and 
Scaling- of Paint — General Remarks 67 

CHAPTER XII. 

CHURCH LETTERING. 

A Part of the Decorating — Various Forms of Letters — 
The Frieze, Scrolls, Etc. — Correct Lay-out — Style of 
Letter to Fit Character of Church and Nationality — 
Colors That Appear Best — Illuminated Capitals — Sym- 
bols — Classic Lettering, Etc ' . . . . 72 

CHAPTER XIII. 

PAINTING WALL SIGNS. 

Preparing the Surface — Cheap Paint — The Lay-out — Break- 
ing on Letters — Style of Letter U-sed — Lay-out for a 
Large Sign — The Brushes Used, Etc 78 



CHAPTER XIV. 

PAINTING BULLETIN SIGNS. 

Building a Bulletin Board — Painting the Bulletin Board — 
Lettering the Bulletin Sign — Prices for Bulletin 
Signs — Ready-made Signs 



CHAPTER XV. 

VARIOUS COMMERCIAL SIGNS. 

Hand-painted Posters— Roadside Signs — Half-inch Boards- 
Paraffined Card Signs — The Projecting Sign — Drum 
Signs 89 



CHAPTER XVI. 

PAINTING SIGNS ON TIN. 

Japanned Tin Signs— How to Paint and Gild Same— Frost- 
ing Tin for Sign— Gold Varnish for Sign — Glazed Tin 
Sign — White Letters on Tin — Various Suggestions 92 

iii 



PAGE 

CHAPTER XVII. 

LETTERING ON MUSLIN, OIL CLOTH AND CANVAS. 

Lettering on Ready-sized Muslin — Lettering on Unsized 
Muslin — How to Size Muslin for Lettering On — ^lix- 
ing Lettering Color — Colors For Muslin Signs — Muslin 
Sign Dry in an Hour — The Letters and Shading — Com- 
bining Colors to Advantage — Designing the Sign — 
Brushes Used — Transparency Painting — Waterproofing 
Muslin Sign Work — Soapstone in the Size — Lettering 
on Canvas — Sizing and Painting on Canvas — Preparing 
Canvas or Muslin for Rolling Up — Halo Around Let- 
ters — Water Color on Canvas — Lettering on Oil 
Cloth — Some Fine Effects Described 96 

CHAPTER XVHL 

SILK AND SATIN BANNER PAINTING. 

Two Methods of Painting — Method for Large Silk Ban- 
ner — The Pouncing — The Painting — The Ornament — 
Stencil, Pounce and Size for Silk Banner — Size for 
Banner Work — Handy Chalk Line for Banner Work. . . .105 

CHAPTER XIX. 

PADfTING THE BARBER POLE. 

How to Paint in the Red and Blue Stripes — Two Ways — 
Poles Factory-made — History of the Barber's Pole HI 

CHAPTER XX. 

SMALTS AND SMALTING. 

How to Do a Job in Gold Leaf and Smalts — Prevention of 
Shiners — Color of Ground to Use — ^^What Pencil and 
Brush to Use — What to Thin Cutting-in Color With — 
How to Do a Quick Job — Temperature of Shop — How 
to Do When There is Considerable Lettering — How to 
Manage a very Long Sign Board — How to Sift on 
Sand — When to Dump Off Sand — Charcoal for Lay- 
out — Formula for Making a Good Cutting-in Color — ■ 
For Light Color Smalts H4 

CHAPTER XXL 

PRACTICAL SIGN PAINTING NOTES. 

Comprising Thirty Extremely Useful Notes Concerning 
General Sign Painting, Some of them Formerly held as 
high-priced secrets of the trade 118 

t iv 



PAGE 

CHAPTER XXII. 

NOTES ON GILDING WITH GOLD LEAF ON WOOD. 

Thirty Valual^le Hints and Practical Suggestions Con- 
cerning Gold Leaf and Its Using — Also, Gilding Carved 
Wooden Letters — To Prevent Leaf From Adhering 
Where Not Wanted — Removing Leaf — Recovering 
Gold Waste, Etc 122 

CHAPTER XXIII. 

MAKING AND USING FAT OIL SIZES. 

What Fat Oil Size Is — When It is Ready to Take the Leaf — 
Fat Oil Size Formulae; Thirty-one Ways of Making — 
Oil Size Notes; Thirty-two Priceless Practical Sugges- 
tions for the Gilder 128 

CHAPTER XXIV. 

ALUMINUM LEAF AND BRONZE AND SILVER LEAF. 

Full Description of Aluminum Leaf — For Glass Work — 
Its Appearance with Certain Colors — Its Shading — 
Varnishing Over It — Powdered Aluminum — Aluminum 
Size for Wood — Lettering on Glass with the Bronze — 
Silver Leaf — Size to Use — How to Leaf on Glass — Re- 
moving Surplus Silver Leaf, Etc 136 

CHAPTER XXV. 

GILDING ON GLASS. 

Complete Description of Best Method of Procedure — The 
Lay-out — Sizing and Leafing — Backing Up Letters — 
Nine Different Formulas for Backing-up Color, from 
eminent sign painters mainly — Shading Letters — For 
Shaping Letters — Mat Outline on Burnished Gold 
Letters — How to Care for the Tips — Burnished Gold 
Letters on Ground Glass — Gilding on Sweaty Win- 
dows — Marking Out Lettering on Glass — Lay-out of 
Painted Lettering on Inside — Outlining the Black 
Paint — Matte Center and Burnished Edge Letter — Acid 
Embossed Letters — Varnished Center 141 

CHAPTER XXVI. 

WATER SIZES USED IN GLASS GILDING. 

General Remarks — Russian Isinglass — What It Is, and How 
to Use — American Isinglass — What It Is — Comparison 
of Prices — Derivation of the Word Isinglass — Prepar- 
ing Isinglass Size — Full Directions — How Strong to 
Make — Gelatin and Its Using — Creeping of Size on 
Glass 156 



PAGE 
CHAPTER XXVII. 

(JLASS SIGNS WITH PEARL LEAF ENRICHMENT. 

Descrintion of Pearl Used — How to Cut and Fit— Doing 
the Gilding — Making a Lay-out — Backing-up Color — 
Size for Attaching Pearl — Shading, Scrolls and 0"na- 
ment— What Colors Look Well 161 

CHAPTER XXVHL 

GLASS SIGNS BY TRANSFER PROCESS. 

no\y to Do Two or More as Desired — Quick Method of 

Turning Out Cheap Glass Business Signs 164 

CHAPTER XXIX. 

I'AINTING SIGNS ON GLASS. 

Gold and Paint Signs — White Letters on Glass — While 
Letters on a Red Ground — Transparent Color for 
Glass 167 

CHAPTER XXX. 

EMBOSSING ON GLASS. 

Kind of Plate to Use — Preparing the Plate — The Lay-out — 
Painting in the Asphaltuni — The Acid Used — The Em- 
bossing — Washing Ofif — Remedying Defects — Remov- 
ing the Asphaltum — Various Methods — Fancy Acid 
Embossing — Fire-Flash Glass Sign — Chipped Glass 
Sign — How to Chip Glass 170 

CHAPTER XXXI. 

IMITATION FROSTING ON GLASS. 

Eight Different Ways — How to Remove Frosting — Clear 

Letters on Frosted Glass 176 

CHAPTER XXXII. 

EMBOSSING A BRASS SIGN. 

The Brass Plate — Cleaning the Plate — Placing the Plate 
for the Work — Painting in the Design — Making the 
Dam — 1 ne Embossing Fluid — Another Method of Em- 
bossing — A New Way — Cleaning Up After Emboss- 
ing — Filling In the Letters — Eight Formulas for Mak- 
ing Black and White Cements — Filling With Black 
Cement — Filling With White Cement — General Re- 
marks — Nitric Acid — Coloring Brass Plates — Making 
Brass Plate Chocolate Color — Green Patina on Brass 
Plate — Fluids for Etching on Various Metals 179 

vi 



PAGE 

CHAPTER XXXIII. 

GIJ.DING AND PAINTING ON METAL. 

How to Gild a Copper Dome — Estimating the Cost — What 
Quality of Leaf to Use — What Size to Use, and How to 
Prepare the Ground — Gilding and Smalting Sheei 
Zinc— Gilding Iron Letters— Painting on Metal— Paint 
Formula, Etc 1^^ 

CHAPTER XXXIV. 

STENCILLING SIGNS. 

Cutting the Stencil — Making the Duplicate Stencil — Shading 
the Letters — Correcting Rough Edges — Mixing and 
Applying the Stencil Color— Stencilling With the 
Brush— How the Paint Should Be— How to Rub Color 
In — Stencilling Signs on Glass With Panit or Gold — 
Zinc Stencils for Lettering With— Making a Large 
Stencil— Variegated Stencil Signs— Various Sugges- 
tions 



191 



CHAPTER XXXV. 

MAKING NOVEL OR FANCY SIGNS. 

Imitation Embossed Glass Sign — Wall Paper Letters- 
Water Gilding on Glass — Flitter Sign— Fancy Painted 
Sign — Flat Color on Varnished Ground Sign — Fancy 
Gold on Glass Sign — Tin Foil Sign — Frosted Silver 
Sign— Cheap Glass Sign — Cheap Raised Letter Sign- 
Watch Crystal Number— Imitation Pearl Sign— Spat- 
ter Work Sign — Novel Smalted Sign— A Handsome 
Sign — Novel Sign on Glass — Sign Reading Three 
Ways— Fancy Mirror Signs— Cheap Advertising 
Signs — Bas-relief Signs — Suggestion for a Fine Sign — 
Window Sign — Novel Stucco Sign — Imitation Em- 
bossed Silver Sign — Making Cheap Signs With an 
Inked Pad 197 

CHAPTER XXXVI. 

inSCELLANEOUS. 

Size for Gilding on Window Shade Sign— Lettering on 
Granite — Painting Carved Lvetters on Granite and 
iMarble— Sign Painting on Brick Work— Gilding a 
Tower Clock Face— Doing a Large Business Sign- 
Hanging a Sign — Correcting Errors on Sign — Letter- 
ing a Glass Clock Dial— Peeling Off of Gilding on 

vii 



PAGE 

Glass— Sign on Black Ground — General Remarks — 
Lettering on Wire Gauze — Coloring Electric Light 
Bulbs — Fixing Wooden Letters to Cement — Affixing 
Galvanized Letters — Attaching Carved Wood Letters to 
Metal or Stone Sill — Imitation Gold Paint Formulas — ' 
A Question of Law, Concerning the Sign Painter — 
Window^ Ventilation — To Prevent Cissing of Color — 
Varnishing Exterior Signs — High Lighting 210 

CHAPTER XXXVn. 

LETTERING ON GLASS ^VITH PAINT. 

The Handy Hand-rest — Tools for Painting With — Color tu 
Use— How to Do It— Shading — How to Mix White 
Paint — The Lay-out — Colors That Need Stippling — List 
uf Colors Safe to Use in Glass Painting — How to Thin 
and Use 222 

CHAPTER XXXVIII. 

PORCELAIN AND METAL LETTERS. 

Doing a Good Job With Enamel Letters — The Lay-out — 
How to Arrange Letters — Eight Different Cements for 
Attaching Metal Letters to Glass — Repairing Enamel 
Letters — Removing Old Letters — Brilliant Letters — 
Nice Effect With Convex Gold Letters — General Re- 
marks — Cementing Brass to Glass — Glass Letter 
Signs — How Enamelled Letters Are Made — Their His- 
tory 226 

CHAPTER XXXIX. 

THE ELECTRIC SIGN, 

Its Rise and Development — The Early Forms — Improve- 
ments as They Appear — What Sign to Use — Colored 
Caps — Cost of Maintenance — Roof Signs, Etc 233 

CHAPTER XL. 

TIN TACKING. 
Complete Description of the Work Given by an Expert 239 

CHAPTER XLI. 

CLEANING AND RENOVATING OLD LETTERS. 

Restoring Gold Letters on Glass — Removing Paint from 
Glass — Renovating Pictorial Signs — Cleaning Raised 

viii 



PAGE 

Gold Letters — Cleaning Show Window Glass — Removing 
Temporary Sign from Glass — Clean Brass Sign Plate — 
Removing Old Smalts — Cleaning Paint Cups and Buck- 
ets — Cleaning a Tarnished Zinc Sign — Brightening Old 
Smalts Sign 243 

CHAPTER XLII. 

WHAT TO CHARGE FOR SIGN PAINTING. 

Board Signs — Wall Signs — Glass Signs — Oil Cloth Signs — 
Muslin Signs — ^Japanned Tin Signs — Drum Signs — 
Board and Galvanized Facia Signs — Carved Raised 
Letters on Fascia Board, Black Smalts Ground — Gilding 
on Glass — Office Doors — House Numbers on Tran- 
soms — Painting Canvas Signs on Frames — Unmounted 
Aluslin Signs — Unmounted Oil Cloth Signs — Plain 
Swing Signs, Tin or Zinc — Glass Swing Signs, in 
Fancy Frames— Interior Glass Panels, Fascia — Glass 
Swing Hall Signs, One Side — Tin Stair Strips — Wall 
Signs — Real Estate Boards — ^Window Shades — Letter- 
ing on Silk or Satin — Campaign Banners — Pittsburgh 
Association Prices — Wagon Lettering Prices 247 

CHAPTER XLHL 

SHOP EQUIPMENT. 

Tools Required in Sign Painting — List of Pencils and 
Brushes Required, with Price List of Cost — Care of 
Brushes — The Shop Equipment — Tools, Stages, Cloths, 
Etc., Etc. — How to Make Sign Painters' Straight- 
edge — Handy Brush Palette — Using the Chalk Line — 
Materials and Tools and the Cost — List of Leaf, 
Bronze, Filters, Frosting, Etc., with Prices ...258 

CHAPTER XLIV. 

OFFICE AND STATIONERY. 

Description of Kind and Quality of Stationery to Have 
Printed — What to Have — Specimen Form of Specifica- 
tion Blank for Sign Painter 266 

CHAPTER XLV. 

SILVERING AND RE-SILVERING MIRRORS. 

Very Full and Clear Description of Methods, with Several 
Formulas — How to Back-up Silvering — Making Mirror 

ix 



PAGE 

Back-ground Sign — Silvering Concave, Convex, Curved 
Chipped Glass, Druggists' Globes, Etc. — Silvering Plate 
Glass — Silvering Formulae — Various Methods for Sil- 
vering — Re-Silvering — Repairing Mirror with Silver- 
ing — Cloudy Stains — To Prepare Transparent Mirror — 
Cleaning a Mirror — How Plate Glass is Prepared for 
Silvering — How the Silvering is Done in the Factory. .. .268 

CHAPTER XLVI. 

DRILLING HOLES IN GLASS. 

Various Methods — The Steel Drill — Using Molten Lead — 
The Diamond Drill — The Copper Tube Way — Rotary 
Brass Tube — Acid Eating — Case-hardened Drill — The 
Mill File Way — Three-cornered File — How a Car 
Painter Cut a Hole in a Window 285 

CHAPTER XLVn. 

GOLD LEAF MANUFACTURE. 

Ancient Gold Beating — Extreme Ductility of the Metal- 
How the Leaf is Made — Recovery of the Waste — Num- 
ber of Gold Beaters and Establishments, and Where Lo- 
cated — How the Gold Beaters Work — Amount of Alloys 
Used — Shades of Gold Leaf — The Best for Gilding on 
Wood — Testing Gold Leaf — Weighmg the Leaf — Gold 
Leaf in Germany — Interesting Facts and Figures 293 

CHAPTER XLVHL 

HOW BROZE POWDER IN COLORS AND TIN FOIL ARE MADE. 

Interesting Description — How Tin Foil is Made 301 



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PREFACE. 




URING the past few years quite a number 
of works for sign painters have appeared 
from the press, but these have mainly 
been devoted to illustrations, or lay-outs 
and alphabets of various kinds, the text part being 
almost nil. To supply the need for a practical text 
book, a need that I have clearly recognized during 
my several years' experience as an editor of a paint- 
er's periodical, and also while instructing in the sign 
painting art at the Indianapolis Technical Institute, 
some five years ago, the present work is here offered. 
In making this book I have been under obliga- 
tions to many of the leading sign painters of the 
country, and also to various trade publications, and 
to these I wish to extend, as far as I can, due credit. 
My work has indeed been that of the editor, not of 
the author. I am able in only a few cases to render 
credit by name, but all whose writings have contrib- 
uted toward this work, whether small or large it may 
have been, have the assurance that goes with all 
good and worthy deeds, that they carry their own 
reward in satisfaction felt from the consciousness of 
so doing. 

In the forty-eight chapters of this work will be 
found the most that can be given regarding the art 
and practise of sign painting in this country. Many 
minds are represented therein. Various methods for 
doing various things are given, all equally good, 
though differing in minor points. The book is in- 
tended for the expert workman, not the learner or 
amateur. It is a book of ready reference. 



I have consulted all the books there are, of domes- 
tic and foreign origin, relating to the subject of sign 
painting, and have also carefully gleaned the pages 
of the various trade publications for the past several 
years for matter relating to the subject, and what I 
have gathered in this way has been carefully edited 
or revised as the case required, and thus 1 have 
sought to give the book a permanent and practical 
value that could not be secured by hasty or less care- 
ful work. I have spent the greater part of the pres- 
ent year in the preparation of the work. And now 
I offer it to the trade, with the hope and expectation 
that it will meet a real need and adequately supply 
that need. There is no other book at least that 
comes as near to this mark. 

The Author. 

Malvern, Pcnn'a., 
December^ 1910. 




CHAPTER I. 

An Historical Sketch of the Art. 

HEN the cities of Pompeii and Herculaneum 
were dug* out of the ashes, which covered 
them for centuries, the diggers came across 
many emblematic signs that had done duty 
before the old Roman inns. The first sign of which we 
have any historical knowledge was a bunch of grapes, 
carved in stone, and which was hung above the portals 
of one of these old-time taverns. For the first signs 
were carved or moulded from clay, succeeding which 
came the painted sign. The Greeks also employed 
signs in the same way, as we gather from allusions to 
them by the old Greek writers. 

During the middle ages, in Europe, when the people 
were seldom able to read, for education was far from 
being general, it was necessary for tradesmen to have 
signs before their places, to indicate the nature of the 
business they were conducting. The symbolic sign was 
then most in evidence, such as the three gilded balls, of 
the pawnbroker, and which is one of the ancient forms 
that survives to this day. The barber pole is another 
example. In Russia, at the present time, symbolic 
signs are used, the people being, as a mass, uneducated, 
unable to read, and even those who can read find diffi- 
culty in making out the letters of the Russian alphabet, 
which consists of thirty-six letters, and which seem to 
have the combined difficulties of the Greek, Chinese 
and Arabian characters. Hence, the signs on the stores 
of Russia are mostly pictorial, a language understood 
by all people. 

A century ago, in England, it was not unusual to 
find signs painted by the best artists of the day, some- 



8 THE EXPERT SIGN PAINTER 

times as payment to mine host for lodging and food 
furnished, and more rarely, perhaps, in return for 
needed cash, in the usual commercial manner. Many 
interesting and often amusing tales are on record con- 
cerning the painting of some inn signs, done by famous 
painters. Quite recently a famous English artist has 
done the sign of the Swan Inn, at Rayne, Essex, and 
Mr. Frith, a veteran R. A., mentions in a current paper 
having painted a sign board in Lancashire for an inn 
called the Pilgrim. He says: ''My friend Augustus 
Egg painted one side of the sign, and I the other. 
Egg's pilgrim was knocking at one side of the sign, on 
which a door v/as limned ; on the reverse side my pil- 
grim was leaving the inn refreshed, thankfully casting 
his eyes heavenward." The late Walter Crane did a 
clever sign showing the Fox and Pelican, for a small 
Surrey inn. Many such instances are recorded of Brit- 
ish artists. In our country, in its early days, both be- 
fore and succeeding the Revolutionary war, sign paint- 
ing v/as an art indeed, and in my historical account of 
the old-time signs of Philadelphia I have given in- 
stances showing the high character of the work done 
then in this line, some of the sign painters being artists 
of the highest rank. But perhaps the most illustrious 
as well as famous, and subsequently infamous, of artists 
in this country who have wielded the brush and pen- 
cil on sign work was Benedict Arnold. 

Benedict Arnold's Sign. — Benedict Arnold lived 
in New Haven, Conn., from 1761 to 1775. He had 
learned the trade of apothecary, and this business he 
followed with success in New Haven. His shop was 
opposite the Yale campus, but later on he moved to 
a substantial shop in Leather Lane, now George 
street, near the spot where New Haven was settled 
in 1637. This shop was at the town market place, 
where countrymen and tradesmen assembled every 



THE EXPERT SIGN PAINTER 



9 



The sign which 



day, and his business became great 
he swung over his shop door is now hanging in the 
rooms of the New Haven Colony Historical Society, 
and it reads as follows : 




The last line is Latin, and means, 'Tor himself and 
others." As for the "From London" part, Arnold had 
never been in London, and doubtless it was done to be 
up to his business neighbors, all of whom adopted fic- 
titious honors to draw trade. Arnold was egotistical 
to the last degree, and his sign well portrays his 
character. 



James Whitcomb Riley. — As this work is being 
prepared for the press, word comes that America's 
poet of homely things has been stricken with partial 
paralysis, and it is therefore meet that a word should 
be said concerning Mr. Riley. He began life as a 
sign painter, and it is said that he was a good one, 
too. If he had failed as a writer of popular verses, 



10 THE EXPERT SIGN PAINTER 

at which he has amassed a goodly fortune, he would 
have been successful as a sign painter, for he has the 
artistic temperament, and did very fine work when 
he did work at it. 

There have been other American sign painters who 
have distinguished themselves in other lines, Arthur 
Quartly, for instance, who was well known for his 
oil paintings. But as I had not intended writing a 
series of memoirs, the account may reasonably stop 
here. 

And the sign itself has been immortalized, if I 
may be allowed the expression, by one of the world's 
more illustrious painters, Meissonier, in his famous 
picture of 'The Sign Painter," the picture itself hav- 
ing no doubt been suggested to the artist by the 
number of really excellent signs seen over the doors 
of inns in his day. The Spectator, a periodical pub- 
lished in the days of Queen Anne, speaking of the 
signs used then, says: ''Some of these were so elab- 
orately and beautifully done that they deserved rath- 
er to be in a picture gallery than on a sign post." 

The most important event in sign painting in our 
country was the introduction of the art of gilding 
letters on glass, in 1828, by an Englishman by the 
name of Edwards. This gave great impetus to the 
art of sign painting for business houses, banks, etc., 
and its importance cannot be over-estimated. In 
this connection I may state that the trick of cutting 
the leaf with the finger nail originated with a Pitts- 
burgh, Pa., sign painter, if I may believe the state- 
ment he made to me in a letter a few years ago. He 
said : 

"I want to ask the brethren of the craft how many 
of them, especially the oil size gilders, cut the leaf 
with their forefinger-nail to the size needed for the 
tip ? Tn the middle Fifties, I had to gild figure-heads 



THE EXPERT SIGN PAINTER 11 

and trail-boards for sailing" vessels. I was taught to 
use the cushion and knife, having to sit oni the stays 
or bowsprit, or wherever there was a place, to gild 
the carvings. There was a great loss of the gold 
leaf, which increased the cost of the work, or reduced 
the profits. Being ambitious, I tried different plans, 
one of which was to take up an empty book, cut the 
leaves apart, turn up the back edge one-fourth of an 
inch, and with a bit of white wax rub one side of the 
book leaf, and then press this, wax side down, onto 
the gold leaf. Then I placed such leaves in a box 
with a lid, and whenever I needed any I would take 
out the leaves and cut them to any desired size. This 
plan worked very well, with little loss of gold, but it 
was difficult to get into the recesses of the carvings 
well. 

"How I came to discover that 1 could make a leaf 
from an empty book, I do not remember, but I do 
remember that I used this plan as early as 1855, and 
it is my plan in all sign work to-day, never having 
been able to improve upon it. I take a leaf from an 
empty book for the first leaf. A leaf of gold is three 
and one-fourth inches square ; Hasting's leaf is, at 
least. The Chinese leaf is two and one-half inches 
square. Knowing the width of the cover, I lay the 
book leaf, after turning the first page, covering all 
the surface of the leaf except that part which I want 
to take up with the tip. After using the first leaf, T 
fold back the page lying on the leaf of gold, exposing 
the size I want lightly running my finger-nail along 
the folded page, and lift with the tip as small a piece 
as one-eighth of an inch. 

"I believe that I was the originator of this method, 
although it is likely that others may have thought 
out the same idea, years before, though if this is so 
I never heard of it. My reasons for believing myself 



12 THE EXPERT SIGN PAINTER 

the inventor of the plan have been strengthened by 
a Httle incident which occurred a few years ago. I 
had an apprentice who developed a taste for artistic 
decoration, and, whilst he was of profitable service 
to me as a house painter, yet his appeals to me to 
help him to get a place with a decorator or fresco 
painter, induced me to interest myself in his behalf 
in that direction, and I succeeded in getting him with 
a very good man. He remained two years with this 
man, and then learning that at Nuremburg, Germany, 
there was a free school where he could get full tuition 
in decoration, he went there and enrolled as a stu- 
dent. One day one of the professors asked him if 
he could lay gold leaf, and he replied that he could. 
So the professor handed him the cushion and knife 
and tip, whereupon the young man asked what they 
were for. 'Oh,' replied the professor, 'you can not 
gild.' But the young man asked to be given the 
work, and see whether he could do it right or not. 
The astonishment of the teacher was very great when 
he saw the American boy proceed to lay the leaf in 
tlie manner in which I had taug-ht him to do. No- 
body in the institution had ever heard of such a w^ay. 
He was asked who had taught him to gild in such a 
manner, and upon getting all the particulars, an ac- 
count of the method was published in their magazine, 
as being something entirely new. Mind you, this 
was less than twenty years ago, so that I still think 
that I originated the idea. The student, by the way. 
i^ now a well-known fresco artist, doing work in 
Western Pennsylvania, Virginia and Eastern Ohio." 
Another invention of importance was the wire 
sign. VanDyne says that it was accidentally dis- 
covered in Boston, Mass., in 1873, by Edward South- 
ard, a sail maker who carried on the business in the 
top story of a building on a prominent side street, a 



THE EXPERT SIGN PAINTER 13 

few doors from the corner of a busy business street. 
For years he had hung out in front of his place a 
canvas banner, on a pole, and lettered on both sides. 
The wind would play havoc with this banner sign, 
so that he had to renew it about once a year. Thei» 
he thought of cutting holes in the canvas, to allow 
the wind to pass through, which only partially reme- 
died the trouble. It was a fishing net that he had to 
repair that set him to thinking out the wire screen 
sign, or its forerunner. With heavy twine he knit a 
piece of netting six by ten feet, bound the edges with 
rope, and placed rings along the top portion. Can- 
vas letters were cut out and painted and sewed on to 
the netting. He was advised by a lawyer to have 
his method patented, which he was not slow to fol- 
low out, and which led to a lot of interesting legal 
skirmishing that needs not be related here, but which 
brings in Mr. Chas. Strong, then a New York sign 
painter, but now of Detroit, Mich. All of which led 
to improvements, such as metal frames, wire net- 
ting, etc. 

The wooden letter came into general use about the 
year 1876, and it soon became a popular favorite, 
just as the electric sign has done in recent times. 
In a short time it was used in every sign shop, so that 
prices were greatly reduced, and profits correspond- 
ingly cut down. Then some one thought of attach- 
ing the raised wooden letters to wire screen. Ordi- 
nary poultry wire was at first used, but some inven- 
tive genius, with bright foresight, thought of the 
wire body and iron frame sign. i 

The introduction of the electric sign is of such 
recent history that I need scarcely refer to it here; 
in a chapter on the subject I have given some ac- 
count of it that may well take the place of what I 
might otherwise have said here. 



14 THE EXPERT SIGN PAINTER 

And now, what is a sign painter? Is he a sign 
writer also? And what is a letterer? Is he too a 
sign painter? In a Httle book issued in London not 
long since, the editor (for the book consists of arti- 
cles that were originally written for a periodical 
called Work) says : ''The modern practice of sign 
painting, accepting the term in its original sense, is 
an almost obsolete art, which survives only in the 
royal arms, shields, and in some hotel boards. . . . 
The precise name of this art has invariably presented 
difficulty with previous writers on the subject. . . . 
There are three distinct, classes of work, sign paint- 
ing, sign writing, and lettering. The sign painter 
is an artist capable, as a rule, of doing any class of 
letter painting. The sign writer is capable of doing 
any class of writing and lettering, from church work 
to the outside of a tradesman's shop, but stopping 
short of pictorial work. The letterer may be an ordi- 
nary painter, who is able to exactly form letters and 
numerals, and who by practice acquires considerable 
skill. Most of this last class are to be found in wheel- 
wrights' and carriage builders' yards, and in the rail- 
way carriage and wagon works. They generally use 
block letters, simply shaded, . . . this work is sim- 
ply letter painting." 

But the definitions given do not apply here, and 
certainly sign painting has changed in the last half- 
century, so that we may designate the art now as 
simply sign pamting, which embraces the painting 
of the board or other surface to receive the letters, 
and the lettering itself. Pictorial work is hardly a 
part of sign painting now, as it was almost to the 
exclusion of lettering in the olden days, and when 
such work is done a specialist, a sort of artist, often 
indeed a very good artist, does the work, as on ban- 
ner painting and on advertising signs on walls . 



THE EXPERT SIGN PAINTER 15 

A word or two concerning the letters and num- 
erals the sign painter employs. It would be out of 
place here to enter into any deep inquiry concerning 
tlie origin and evolution of our common speech, as it 
finds expression through symbols called letters, of 
which we employ twenty-six to express all our wants 
and thoughts. Our alphabet came to us from a 
Hebrew source, but its present form is a modernized 
Roman, and any one curious to know all about the 
origin of written speech and its development should 
consult a good encyclopedia, like the Brittanica, the 
Americanized one being precisely as good. That oui 
present so-called Roman letters are as nearly perfect 
in every way as human ingenuity can make letters I 
fully believe. I have alluded to the rather mixed 
Russian alphabet, and comparison with ours should 
be a source of pride as well as of gratification to us. 
Our letters serve their purpose in sign work admir- 
ably, as they possess distinct individuality, and in 
combinations of words they cannot cause confusion 
of form or in any other manner. They have also 
considerable artistic value, they are simple and chaste 
in design, and in a word are perfect. In a former 
age it was the custom to so highly ornament a letter 
that it was difficult to decipher it. The intent was 
to make ornament rather than meaning. The old 
Gothic letters were of this class. Legibility is the 
prime quality of a letter. Individuality is another im- 
portant attribute of a letter. A century ago the ''f" 
and "s" were so nearly alike in form that it was im- 
possible sometimes to tell which was meant. The 
result was such words as bleffing, purposefs, muft, 
etc., meaning blessing, purposes, and must. The "s" 
and "f" were used interchangeably, as though iden- 
tical. In the word muft the "f" and "t" were joined 
at the top, and in connect or any word ending with 



16 THE EXPERT SIGN PAINTER 

"ct," the last two letters were thus connected. In 
this instance the combination forms a character much 
like that which stands for the ampersand, or &. In 
fact, ''et," standing- for & and having the form &, was 
so made. Again, in early days we lind the 'V" used 
in place of ''u," a practice revived of late years in 
architectural work. I have books, printed in 1798, 
that show the use of the ''s" and ''f" as I have indi- 
cated, and in another book, printed in 181 1, I do not 
find it so, but the reading is exactly as it would be 
now. As late as 1818 the capitals 'T' and "J" ^^^ 
lower-case ''i'' and "j'' were used as being identical, 
as may be seen in Todd's Johnson's Dictionary of 
that date. lohn was meant for John, and instances 
of this use of the 'T" may be seen in old graveyards, 
on ancient tombstones. Then, there was a time 
when the ''i" was not dotted, the dot coming into use 
somewhere during the Fourteenth century. 

Regarding our numerals, it is said that the use of 
symbols to represent numbers is older than writing. 
Our very remote ancestors did their figuring by 
means of their fingers, and this method is in use to 
tliis day with many persons, who may be seen count- 
ing up on their fingers. We got our word digit from 
that circumstance, the Latin word for finger being 
digitus. Then the fingers became numbers in course 
of time, as follows : I II III IV V VI VII VIII IX X. 
The V was made by holding up the fore and second 
finger, divergent at the top. The X was made by 
crossing two fingers. This simple method was fur- 
ther improved by the addition of letters to represent 
higher sums than could be signified by the fingers 
alone. This the Romans did. Thus, XXX, repre- 
senting 30, was prefixed by C, making 130. By fur- 
ther adding VI as a terminal was obtained the sum, 
136. The full amount would be represented thus: 



THE EXPERT SIGN PAINTER IT 

CXXXVI. By this system of notation C stands for 
I GO, M for I GOO, and so on. 

Our present decimal system of numbers, in its 
complete form, or inclusive of the zero mark, o, is of 
Indian origin. The Indians gave it to the Arabians 
about yy2i^ A. D. Europe got the complete system, 
including the zero mark, in the Twelfth century. 
Chaucer, about the middle of the Fourteenth century, 
mentions ''figures newe," doubtless alluding to these 
Indian or new Arabic numerals. In his day the Ro- 
m.an numerals were in common use. 

For some years the forms of the Arabic numerals 
were faulty, notably so in the case of the 3 and 5, 
which were made so nearly alike that it was difficult 
if not impossible to tell one from the other. Even 
to-day the 5 is often made with its upper member 
projecting forward, like 5, and this form is not ad- 
vised as good for sign painters' use. 

By our method of laying out numerals there is no 
chance for mistaking any one of them, for each is 
himself and no one else. Thus, when we paint in 
1369, each numeral stands out clear and distinct, and 
if ever, in the process of time, the 9 and 6 should be 
shorn of their tails, we should still know one from 
the other from the position each holds in line. If 
we make a 9 resting its body on the lower line and 
take away its tail, we could not tell it from a tailless 6. 




18 THE EXPERT SIGN PAINTER 

CHAPTER II. 

Lettering and Letters. 

T would be unwise to lay down any hard- 
and-fast rules as to what constitutes good 
style in lettering, a statement that would 
have been uncalled for twenty years ago. 
The sign artist of to-day revels in a delirium of fan- 
tastic shapes and forms of letters, and the classic old 
Roman or block letter are both too tame for his red 
blood. All of which is in strict keeping with the ten- 
dency of this strenuous age. Still, it may be said of 
the sign making art, as has been truly spoken of art 
in general, that it is subject to changes which come 
through the influence on the mind of surroundings 
which are ever varying. 

Classic art was succeeded by the Gothic, which in 
turn was followed by the Renaissance, and so on. If 
real advance is to be made we must break from pre- 
existent forms. Not that we ought ever to abandon 
any good form like the Roman letter, but we must 
not be governed by rules that governed in the past 
and under widely different circumstances. 

Lettering should be, first, legible ; secondly, in har- 
mony with surrounding architecture and ornament; 
and, thirdly, it should possess decorative value. 
These are the modern requirements, the basis of 
good lettering. Beyond these considerations "bad 
lettering" can only be admitted when widely accept- 
ed ideas are transgressed — with regard to propor- 
tion, when letters are made exceptionally high and 
narrow, or low and broad, when some letters are un- 
necessarily cramped while others are inflated — with 



THE EXPERT SIGN PAINTER 19 

regard to size, when some letters, such as O, are 
made only half the size of their neighbors — or when 
letters are represented as being two or three inches 
thick with excessive shading and perspective effects. 

We must not make the mistake of condemning a 
virile, live style of letterino- simply because it does 
not conform to the peculiarities of another style. 
This is particularly applicable to what is known as 
publicity lettering, which must of necessity show as 
much individuality as possible in order to serve its 
purpose. Obviously a standard form of letter would 
defeat this very object. 

Speaking of lettering from its mechanical stand- 
point, the sign painter needs to be exact, a true 
draughtsman, combining with this, artistic ability; 
all of which come from sufficient training. For this 
work it is not required that the workman be a genius, 
born with natural bent, as the saying goes, for many 
very deficient in this respect have become excellent 
sign letterers. By carefully studying the best forms, 
watching the best work of the experts, and cease- 
lessly practicing, one may succeed in becoming ap- 
proximately perfect. 

Simplicity is the keynote to satisfactory lettering. 
Much depends upon the purpose of the sign as to 
the selection of lettering. Certain letters fit or 
adapt themselves to certain purposes better than 
other forms will The style of letter must, therefore, 
be chosen with reference to the business or purpose 
the sign is to exploit. This is important. 

Plain lettering does for most commercial busi- 
nesses, but when what is called the artistic form of 
lettering is employed, we must not make the mistake 
of choosing thin, light letters for the purpose, though 
very often letters of this class answer the description 
of artistic. Letters possess character, just as per- 



20 THE EZrERT SIGN PAINTER 

sens do; some are coarse and stout; others are as 
distinctly high-bred looking, delicate and refined. 
Of the former class we may mention the bulletin 
letters; of the latter the French style are examples. 
But each has its honest use in the art, just as the 
rugged laborer and well-kept tradesman have theirs 
in life. 

It is necessary that a sign painter should know 
how to make every description of letter, and make it 
accurately. There are many forms of one common 
type of letter, but he should conform to the gener- 
ally accepted definition of that form. Individuality 
is very well in a sign painter's work, but the line be- 
tween that and eccentricity must not be passed. 
Again, knowing how to form all letters and other 
sign characters perfectly, the sign artist will be able 
to do cheap work that will possess attractiveness, 
just as well as costlier work. Both must bear the 
eiir-marks of good workmanship, the visible evidence 
of the touch of a master hand. 

The true artist will avoid over-ornamentation, or 
that which obviously is meant to fill up space where 
space is over-abundant. Lettering may be in curv- 
ing lines, or diagonally across the face of the sign, 
where the board is too short to take the line well. 
But this must be done carefully, in order to avoid 
bringing the fact of shortage too much in evidence, 
or saying in effect that the lettering would be the 
better of a larger board. 

An office building affords splendid scope for the 
display of one's ability and individuality. As a rule, 
office building owners will not allo^v the lettering to 
be anywhere but on the glass of the windows or 
doors of the rooms ; they often also require that 
there be a certain uniformity of the lettering or style. 
In such cases the artist is, of course, somewhat handi- 



THE EXPERT SIGN PAINTER 21 

capped or deprived of considerable freedom of move- 
ment, and yet under the limitations he can, if able 
and so disposed, execute some very original work, 
preserving his individuality. 

Speaking of the French styles, they are built on 
very fine lines, being thin, and possess distinction 
and character. They do not take well to shading; 
but, on the other hand, they appear best as they are, 
and really take the place of the old-style shaded let- 
ter, where something fancy is desired. The shaded 
letter may be said to have outlived its usefulness. 
It is a back-number now. Delicately formed and 
carefully spaced and arranged, in connection with an 
eaually well designed color scheme, these letters 
offer a decided advantage over the old shaded letters, 
and where something more than their mere lines are 
desired they may be outlined to good effect. To put 
the matter in another way, the present day sign artist 
depends more upon color than upon form for eft'ects, 
in this working somewhat along the lines followed by 
the house decorator. 

What is known as the Antique or Old-Style Roman 
letter is in many cases merely a mongrel form com- 
posed of the French and Old-Style Roman letters. 
The same general principles are involved in both 
forms, yet it will be seen by reference to the respec- 
tive alphabets that there is a wide dissimilarity be- 
tween the two, not one letter of the Antique iDeing 
precisely like the Roman. The Antique is much 
lighter in form, although many sign painters do not 
observe this distinction. The spurs differ, and in 
many points the difference is quite as marked. 

There is a mistaken notion abroad that there is 
something gained by making letters stout and bold. 
In certain classes of work, poster work for instance, 
the body of the letter is intentionally designed to 



22 THE EXPERT SIGN PAINTER 

cover more space than the background. For such 
work, as well as for w^all painting, fairly stout letters 
are best, but this can be over-done. What we wish 
in this place to call attention to is the fact that where 
a letter is made bold in order to be seen more readily 
\ve may easily over-rate the importance of such a let- 
ter. For instance, within limits a large letter is no 
more conspicuous than a moderately sized one. It 
will be even less so if the artist has crowded the let- 
ters in order to make size, leaving meagre margins 
and space between lines. A sign should never be 
croAvded, particularly if not close to the reader. 
Plenty of open space helps wonderfully in making 
the sign readable. 

The altitude of a sign must be considered w^hen 
planning for its lettering. Some one suggests that 
different sized letters be displayed in a window at 
about the height that the sig-n is to occupy, and note 
the apparent size of same when viewed from the 
street. The letter O will require particular atten- 
tion, in order that it may not look too narrow-chest- 
ed at a height. The letters must be large enough 
to be read easily, and all fine lines must be broadened 
proportionately. At near view the sign would look 
crude; but this we may accept as inevitable. It is of 
course less trouble to get the correct sized letter be- 
lore the sign is up than afterwards. 

Correct Proportions of Letters. — A very 
good way to get the correct proportions of letters is 
to take some ruled paper, drawn to fifths, and allow 
a space containing 25 of these units for what we will 
call a normal letter, or one of the majority that can 
be well made inside of a normal space of 25 units. 
Those letters which may be formed within the nor- 
mal limits are— B CDGKPRSTXZ and &. 
These being Roman capitals. 



THE EXPERT SIGN PAINTER 23 

For A you will add 1-5; for E deduct 1-2 of 1-5; 
for F the same as E; for H deduct 1-4 of 1-5; give 
letter I 1-5 width; deduct 1-5 for J; and the same for 
L; add 1-5 for M ; deduct 1-2 of 1-5 for N ; for O add 
1-2 of 1-5 ; the same for Q ; for U 1-4 of 1-5 less; for 

V add 1-2 of 1-5; for W add 2-5; and for Y add 1-2 
of 1-5. 

The same rules apply to the capitals in full blocks, 
while T is 1-2 of 1-5 less in Egyptians. The same 
also for condensed and elongated letters, while in 
L E F H J N and T the narrowing may be still 
more without detriment to the letters involved. 

Such capitals as C G O and Q should be placed 
a trifle closer to each other than others, owing to 
their rounded sides, while the letters B D E H K 
M N R U S X and Z may be given a little more 
space between. The open letters, A F J L P T 

V W Y, need to be placed very close together. 

On the block letters. Full, Half-round and Egyp- 
tian, make all the horizontal strokes slightly less than 
the upright strokes, because of the optical illusion 
which makes the horizontals look much larger than 
the vertical strokes, while they are at the same time 
identical. 

All round or oval letters must be made to go 
above and below the horizontal lines a trifle, owing 
to optical illusion, which otherwise would make them 
appear smaller than they really are ; the oval letters, 
too, cannot be well rounded out within normal letter 
space. 

Never condense a letter more than 2-5, nor extend 
or lengthen a letter more than 5-5. 

Be careful wiien laying out script that you do not 
get the angle of inclination too great. The degree 
of inclination suitable for printed matter would not 



24 THE EXPERT SIGN PAINTER 

be the best for a sign, because the position of the 
reader in either case is very different. 

When making the letter A be careful to not give 
it too much spread. Let its spurs extend a little 
beyond the normal letter limits. This applies to the 
Roman capital A, but no other A should be spread 
too much at its bottom part. 

The law of proportion is one of the most important 
in sign lettering. While it is true that most sign 
painters never learned to make letters upon any reg- 
ular geometrical basis, having copied the style of the 
one they learned under, yet it is best to understand 
how to draw by rule of measurement. If we should 
make every letter the same size the effect would be 
grotesque. Most letters differ in proportions as 
compared with the other letters of the alphabet. 
Taking the Roman letters, we find that G, for in- 
stance, will not look well unless the lower limb ter- 
minates at a point somewhat less than one-half the 
letter's height. Then there are certain optical ef- 
fects to be considered, as where the bar connecting 
the two uprights of letter H is placed a trifle above 
the middle; or, more notably still, where the lower 
part of letter S is made larger than the upper part. 
The most graceful effect in the case of letter P will 
be achieved by placing the curved middle member 
at a point exactly mid-way of the main stem. When 
C and S occur in a line of lettering together with J, 
the latter should be allowed a good sweep, that it 
may in a measure correspond with the other two, 
in amount of horizontal space occupied. Letter S 
will always look better if the lower curve is made 
larger than the upper, as already mentioned. Take 
an "s" as it occurs in a printed page and turn the paper 
upside down ; what in its normal position appeared 



THE EXPERT SIGN PAINTER 25 

to be an equally arranged top and bottom member 
will now appear as a letter with an abnormally de- 
veloped bottom section. The projecting limb of the 
letter R should be boldly rounded or the curve 
should end in a somewhat wide flat base. 

The foregoing, and much more along the same 
line might be adduced, gives merely a hint of the 
importance of the law of proportion for lettering. 
The expert sign letterer knows from observation 
and practice how to treat each letter and other sign 
character, so that all parts may be in due propor- 
tion and produce a satisfying effect upon the mind 
of the reader. 

Extended and Condensed Letter. — Certain let- 
ters are adapted to the lengthening process, while 
certain oth'^rs are equally well adapted to shorten- 
ing. If you wish a letter condensed, use the Egyp- 
tian, French Roman, and Half Block Letters. For 
an extended letter use the Egyptian, Block and Ro- 
m.an of various forms. The obvious purpose of an 
extended letter is to fill space; railroad companies 
use such letters on passenger cars. The condensed 
letter is used where space is meagre. It is not ad- 
visable to use either style excepting where warranted 
by circumstances. Never extend a letter more than 
5-5, nor condense more than 2-5, taking a square of 
five by five units, as stated under title. Correct Pro- 
portions of Letters. 

Block Letters. — The letters having some oval 
lines, like O C Q, etc., should be made to conform 
strictly to the style to which they belong. That is, 
a full block O should have its corners made angular, 
not round. Some use the partly rounded with the 
full or partly full block, and while it is easier to form 
a rounded O, it is not good form to do so when the 
letter belongs to the full block style. Some argue 



26 THE EXPERT SIGN PAINTER 

that where there occur several such letters in a line 
it is permissable ; but not so. 

In the C G and S, the spurs are made to show 
distinctly by extending the inside line a little beyond 
the body of the letter, then it is slightly curved back 
to the bar on the line. This is preferalDle to making 
a notch in the body of the letter to indicate the spur. 
But many otherwise good signs may be seen in 
which there are no breaks whatever in the line. But 
even this, harsh and unnatural as it may appear, is 
to be preferred to the notch in the bar. 

Spacing Letters and Words. — In the following 
line of letters is offered what may well be considered 
the most difficult combination of spaces placed to- 
gether : 

FTWAVLJPJLTTN 

The letters A V and M have their heavy down- 
ward strokes 22 deg. out of the vertical, and the 
slight upward strokes 22 5-8 deg. For W the cor- 
responding angles are 20 and 18 1-2 deg. Letter 
Y branches out 32 5-8 deg. to the left and the same 
to the right. The diagonal of Z and the heavy down 
strokes of K and X are 32 5-8 deg. away from the 
vertical. The cross bar of N slants 38 deg., and the 
light upward dash of K wanders 43 1-2 deg. from 
the heavy upright. These angles were found by 
carefully measuring 200 well formed letters with a 
projector, and taking the mean of these measure- 
ments for each angle. 

When the spacing on a sign is not well done, it is 
at once apparent to the eye, and it is this circum- 
stance that guides the expert in properly arranging 
his letters and words, as well as lines of letters and 
words, on the sign board. His eye measures dis- 
tances very nicely, and his experience also tells him 



THE EXPERT SIGN PAINTER 37 

just what space to give to a letter, to make it lit right 
in its place. It is true that his spacing is not abso- 
lutely correct, but the effect of the finished work is 
satisfactory to the eye, and what more can be asked 
or expected ? Some contend against absolutely per- 
fect spacing, as well as against absolutely correct 
formation of letters, arguing that it gives the work 
a mechanical look. Let each workman be persuad- 
ed in his own mind, but wq would advise a medium 
course, not going too far in either direction. 

All rules are subject to exceptions, and those ap- 
plying to spacing in lettering share the common 
privilege. Long usage, however, has pretty well es- 
tablished .the following rules : 

In a line that is to contain a large number of let- 
ters, it is best to use a plain letter, which will afford 
more space than a letter of the opposite character 
will. 

Ornamental letters require more space than plain 
letters on account of their seriffs or spurs. 

In a short line, of few letters a light and ornamen- 
tal letter will look best. 

The relative position of letters should be such that 
there will be about the same amount of space be- 
tween each two letters. Thus, an A coming after 
an L, the two should be closer together at the near- 
est point than the two letters I and H. 

The spaces above and below the line of lettering 
should occupy about i-8 the width of the board, and 
the space between any two lines of letters may be a 
little narrower. 

The space between words should be the width of 
one of the letters of average width; but sometimes 
the lay-out will demand more space than this ; use 
your judgment. 

Take the word TIT, and it will be seen that in 



28 THE EXPERT SIGN PAINTER 

order to make it balance well the letter I will have 
to be pretty close to the two other letters. But the 
case is different with H I H, where more space may 
be given. 

In KINGDOM the letter I may be closer to the 
letter K than to the N. The D a very little closer 
to the O than to the G. The O closer to the D 
than to the M. And so on. 

All round letters should be spaced close, but square 
ktters may be allow^ed more space. H, M, etc., are 
square letters. Open letters like ALT W Y, may 
be spaced close. 

Never crowd letters, allow plenty of space around 
them, if at all possible. 

A letter that is not to be shaded may be made 
somewhat thicker than one that is to be shaded. 

Punctuation. — Correct punctuation is always im- 
portant, and while little of it is called for in ordinary 
sign painting or lettering-, yet its laws must be under- 
stood if we are to make no mortifying blunders in 
our work. Formerly punctuation marks were used 
much more freely than now, both in printed matter, 
and in sign work. It is now the custom in sign work 
to omit all such marks where it can be done without 
violating the sense of the inscription. Judgment 
must be used in this matter, and wherever a mark 
is imperatively necessary it must not be omitted. 
This is rather superfluous, of course, as any intelli- 
gent letterer understands where to place a punctua- 
tion mark and where to omit it. However, not all 
are so able to do this. In some cases it is a matter 
for thought as to whether a mark should or should 
not be inserted. 



THE EXPERT SIGN PAINTER 29 




CHAPTER III. 
The Shading of Letters. 

HERE are several forms of shading used 
by letterers, as follows : The Relief Shade, 
in which the shadow is cast away from 
the letter, leaving a space between it and 
the letter. It is more used than any other shade. 
The Close Shade, in which the shade is a part of the 
letter, forming a solid block. The Double Shade, in 
which there are two close shades of different tones of 
the same color. The Drop Shade, in which the shade 
drops below and away from the letter, as in relief. 
The Doid)le Relief shade, which is composed of two 
relief shades. The Blend Shade, which is used on an 
outlined letter, which is shaded with several colors, 
which are then blended together ; on the outer edge of 
the letter is another outline like that surrounding the 
letter itself. 

The purpose of shading a letter is, primarily, adorn- 
ment or style, but it also serves the more practical pur- 
pose of filling superfluous space. Shading is not used 
so extensively as once it was, and this because a more 
attractive sign may be made with the ornate French 
letters, which need no shading and could not take any, 
owing to the lack of thickness in that letter. Still it 
can serve a purpose, as in filling space, it is useful. 

Shading is done at an angle of 45 degrees, and usu- 
ally is placed on the left-hand side, though some pre- 
fer it on the opposite side. In the former case the bot- 
tom is shaded, and in the other case the top is shaded. 
While there is no set rule for placing the shade, yet 



30 THE EXPERT SIGN PAINTER 

there are more good reasons for placing it on the left- 
hand side than on the right. The construction of some 
of the letters will show that to shade on the right will 
involve more work than when done on the other side. 

The Block letter lends itself easily to shading, as no 
other letter does. The practice of shading originated 
when sign letters were first made from blocks of wood, 
and the shade represented the block of wood; it did 
this in two ways, first, by representing thickness, and 
secondly, by representii'^g a cast shadow from the 
block of wood, or whatever material the letter 
may have been formed from. Hence, we have the 
blocked letter, with the shade joining the letter, and 
the shaded letter, with a slight space between the letter 
and shade. As a rule it is better to leave some space 
between letter and shade, owing to the fact that the 
shade is commonly, if not always, a light tone that loses 
color value by joining the letter color, which in turn 
also loses something in the same manner. 

In shading letters we are supposed to follow natural 
laws governing light, and hence we must understand 
these natural operations, if we would ha\^e our work 
conform thereto. Here are a few suggestions that will 
be found helpful in this connection : Natural shadows 
are sometimes lighter than the objects casting them. 
This is particularly true when the objects are in a cer- 
tain position. In objects exposed to the sun's rays 
there is a heavier shade under horizontal projections 
raised from the ground than on their sides, so that in 
letter shading, when it is desired to cause the letters to 
appear raised, a shade a little heavier than that of the 
perpendiculars is placed at the bottom. The breadth of 
a shade should balance the body of a letter. A shadow 
too broad or too heavy will detract from the appearance 
of the letter. The shade had better be too light at the 



THE EXPERT SIGN PAINTER 31 

Start, and then be worked up gradually to the full ef- 
fect by shading. 

The color of a letter that is to be shaded should be 
made to agree with the color of the ground-work. 
Certain color shades are thought to be suitable for any 
color ground, as for example the following mere glazes 
of Ivory Black, Vandyke Brown, Burnt Umber, As- 
phaltum, and Burnt Sienna. 

In some certain positions, as on the concave lower 
side of a street car, letters shaded to the right seem to 
be better than those shaded from the left-hand side and 
on the bottom. This because, probably, we look dow^n 
on the letters, but at the same time it is not in accord 
with natural law. 

An easy way to draw the shade lines is to first form 
the letters 5f cardboard, lay these on the sign, draw 
their outlines, forming the letters proper, then drop the 
cardboard down to the right a sufficient distance and 
draw the lines there. Connect the open or unconnected 
parts with the pencil, and the form of the shading will 
be correct. 

To make a painted letter appear to stand out in re- 
lief- or appear incised requires skill, as any displaced 
shade will spoil the job. Keep in mind the point from 
which your imaginary light comes, and you will not go 
far wrong. 

The shading of a glossy letter should be flat. 

Lettering done in connection with fresco work should 
be shaded in flat color, the letter being flat color also. 

Red letters look best in glossy color, and should then 
be shaded with flat color. 

All dark color letters look best in gloss paint, while 
all light color letters appear best in flat color. 

Hight-light gold letters with Naples yellow, or white 
tinted with chrome yellow. 



32 THE EXPERT SIGN PAINTER 

Vandyke brown and white, tinged with a Httle blue, 
gives a good shade for black letters. 

The shade for a black letter on a white ground may 
be any light tint of green, blue, red, or buff; but the 
color most used is a stone or lead color, of rather light 
tone. 

For shading black letters on white ground do not use 
white lead and lampblack, as the custom is, but tone the 
white with a trifle of yellow ochre, or use ivory drop 
black with the white, which gives a better shade color 
than lampblack. 

One rule is to make the shade for a letter from the 
color of the letter combined with white, so that a black 
letter would have a warm gray shade, while a red letter 
on a pearl ground would have a shade of a delicate tint 
of cool gray. 

A black letter on a white ground will appear distinct 
enough without shading or lining, and the same with a 
white letter on a black ground. But on a colored or 
tinted ground the letter should be outlined or shaded 
with a color slightly darker than the ground, but of the 
same general tone. 

With a gold letter or white letter on a light blue, 
gray-drab, etc., it is necessary to shade a letter close to 
its edge, in order to throw it out more distinctly. 

A second shade should always be of a warmer tone 
than the first shade. 

The depth of a shade should show merely as a shade ; 
observe this rule particularly when making more than 
one shade to a letter. 

When the ground is darker than the lettering the 
shade should be two or three shades darker than the 
ground, unless the latter is black, in which case the 
shade should be some bright color, a line or blended 
shade, the most difficult of shades to make. This must 



THE EXPERT SIGN PAINTER 33 

be a close-shade, touching the letter, or at most not 
standing away from it. 

The depth or width of a shade may be one-fifth of 
the member that is shaded, though this is by no means 
a hard and fast rule, for the shade may be heavier or 
lighter, according to taste or circumstances. 

Some make the bottom shade a trifle heavier than 
elsewhere, to compass an optical effect, whereby the let- 
ter seems to have a better foundation. 

The space between letter and shade should be in the 
proportion of f inch for a 6-inch letter, and f inch for a 
1 2-inch letter. This is not an inflexible rule, however. 

Leave a space of ordinary width between shade and 
letter, excepting where the letter is of a light color on a 
ground not dark enough to show unless the shade is 
close to it. 

Shading on a blue ground, make the shade about 
three times darker than the ground, tinting it with a 
little red, to warm it up. For a second shade and the 
darkest one use Vandyke brown or Indian red in the 
blue. ^ 

For some kinds of signs a shade of vermilion, dark- 
ened at the bottom with some brownish-red, Indian red, 
for instance, is allowable ; but on a white ground with a 
black letter all gaudy coloring in the shade is to be 
avoided. 

A fine effect may be obtained by running a line oi 
color two or three shades darker than the shading color 
on the inner side of the shade, next the letter, leaving a 
blank space as usual. 

As shadow is less than substance, the shade of the 
letter should be lighter than the color of the letter. 
The shading should be one that will harmonize with the 
color of the groundwork, and it should not be too 
strong. 



34 THE EXPERT SIGN PAINTER 

When shading a gold letter on a white ground use 
carmine for the deeper shade, and light English ver- 
milion for the lij^fht shade. 

The various shades of green offer pleasing contrasts 
in shading gold on white. In touching up, verdigris is 
fine for the darker parts. 

Blue always appears well in contrast with gold and 
white. 

The shading color for glass should be made elastic, 
otherwise it is apt to peel off. 

A good black for shading on glass may be made 
from the best refined lampblack and a little boiled oil, 
ground under a pallette knife on a stone slab or marble ; 
add a little rubbing or spar varnish also. 

A good thinning fluid for letters that are to be 
shaded is boiled oil and a little gold size ; for the shad- 
ing color use turpentine and a little raw oil. If you 
use an oil color for the shade then omit the oil; if a 
japan color, then add a little raw oil. 

For shading on glass, where a brown is desired, one 
that is not too dark, use an olive-brown shade, which is 
rich and effective. For a darker shade burnt umber 
and Vandyke brown are very rich browns. In shading 
on glass use white lead as far as possible, avoiding 
japan colors. Never place japan color on a varnished 
surface, for it will eventually show fine cracks, owing to 
the unequal drying of the two materials. Give all 
color ample time for drying before applying any other 
coating over it. Never apply the backing-up varnish 
or color for a week after shading. 




THE EXPERT SIGN PAINTER 35 

CHAPTER IV. 

Scroll Work in Sign Painting. 

HE laying out of a sign embraces the ar- 
angement of the Hnes upon which the let- 
tering is displayed. In this direction op- 
portunities for the display of taste are un- 
limited. XA'hile it is true that in many cases a writer is 
compelled to arrange lettering in straight lines, as a 
rule, a good workman prefers to make a liberal use of 
curves. Besides being more pleasing, such an arrange- 
ment is more effective, as it permits the vvriter to bring 
out or subdue words according to their importance, and 
still preserve* the balance of the sign as a wdiole. 

When one departs from purel)^ horizontal lines in the 
lay-out of a sign, a new element is introduced, namelw 
the necessity of balancing the whole, and filling inter- 
vening spaces by tiourishes or scrolls. To an expe- 
rienced hand scrolling is simply a matter of a few 
touches with the pencil, yet it takes much study and 
practice to acquire a good style of scrolling. A begin- 
ner wdll do well to study critically the best examples he 
meets, for it is b)^ this means, more than any oiher, 
that good taste is acquired. 

Scrolling is almost entirely a matter of taste and 
judgment, and it is, therefore, rather difficult today 
down rules for the guidance of a beginner ; but an im- 
portant feature to remember is that scrolling is only 
used to set off lettering. The more sparingly it is used 
the more effective the sign will be In most forms of 
scrolls the lines should flow gracefully into one another, 
on the principle of radiation. Briefly, this is when one 
line approaches another, if continued, it should not 
cross but flow into it at a tangent. This is a simple 



86 THE EXPERT SIGN PAINTER 

principle of practically all the scrolling used in connec- 
tion with lettering. 

In arranging letters on a curved or sloping line there 
are two w^ays of making them. One way is to draw the 
uprights of letters vertical; that is to say, making all 
upright lines parallel with the upright edges of the 
board. The other is to bend the letters to the shape of 
the curve upon which they are drawn. The second 
method is as though the lettering was actually on a 
curved ribbon. Where lettering is used on a painted 
representation of a ribbon, the latter plan is the better. 
In a sketchy lay-out where no ribbon is actually sug- 
gested, all uprights kept vertical give a very pleasing 
effect. 

Naturally, the style of scrolling used in connection 
with lettering must be in keeping with the character of 
the letters used. In bold, heavy lettering, the scrolling, 
lining, or ornaments should be in keeping. Finally, in 
making scrolls it should be remembered that almost all 
forms used are based upon familiar ornamental forms, 
which, in their turn, embody structural features found 
in flowers and plants. 

Scroll Work. — Scrolls and flat ornaments are very 
useful in fine sign painting, and while any style may be 
used, the Rococo is the most suitable for flat part-relief 
and flat work. For other work use the Roman scroll, 
the finest of all. Draw your scroll or relief on the 
board with care, and show all the shadings, etc., to 
guide in the finishing touches. It is well to fix the 
drawings with thin shellac sprayed on. The scroll may 
be gilded solid, and when dry give it a coat of varnish. 
When dry, paint in the lightest shade color, and after 
this has set, apply the next shade of color, and thus pro- 
ceed until the shading is complete. Use transparent 
tube colors. These embrace burnt sienna, asphaltum, 
gamboge, yellow lake. Dutch pink, verdigris, carmine. 



THE EXPERT SIGN PAINTER 37 

Vandyke brown and orpiment. Thin with good finish- 
ing varnish. High-hght with Naples yellow, or light 
and medium chrome yellow. After the work is done 
let it stand a day or so, then varnish. For work in oil 
color, use tube colors, and make the work opaque, not 
using transparent color as with work on gilding. Have 
the colors required on a palette, and thinning material 
also on same. 

To Shade Gold Scrolling. — Take equal parts of 
asphaltum varnish and brown japan, add them to- 
gether ; then add a teaspoonful of burnt sienna, in oil ; 
shake together. Varnish and rub the gold before ap- 
plying the shading, or the shading will be muddy. 
Also, dilute the shading color to tone required. The 
varnish prevents the shading from striking in, and the 
sienna gives the shading a rich gold tint. Transparent^ 
washes of ultramarine, carmine, verdigris, lake, etc.. 
also are used on gold scroll work. In shading the 
scroll three washes may be used to produce a fine effect, 
the first very thin, the next being placed partly over the 
first, and the third deepening the shade. 

To glaze aluminum leaf to a golden shade., take 
French yellow lake, ground in varnish, thin with 
pale coach varnish, and add a few drops of turpentine. 

Oil Sizing Letters and Scroll Work. — For siz- 
ing letters and scrolls, especially the latter, instead of 
using the gold size as it comes from the can, thin down 
with turpentine and keep it in a bottle, well corked. 
A number of very good workmen use their size too 
thick, which causes the work to stand out from the sur- 
face, and where the work is to be varnished and rub- 
bed down smooth, as is sometimes required, there will 
be trouble. As scrolls are complicated in design and 
must be sized in one stretch, the size should be applied 
very thin and smooth. Size for script must be pretty 
thick, to prevent spreading. 



38 THE EXPERT SIGN PAINTER 




CHAPTER V. 

Forming the Ellipses, Oval, Curve, Circle, Octagon, 
Star and Horizontal Line. 

E are apt to get terms confused here, the 
term oval often being appHecl to an oblong 
rounding form that is really an ellipse. An 
oval is egg-shaped, the word being derived 
troni the Latin oviun, Qgg, and which is larger at one 
end than at the other. 

There are many w^ays of constructing an ellipse, 
many of them too complicated to be practical, and most 
of them are mere approximations. Here is the way 
one sign painter describes the method : 

"If you want to make an oval 3 feet bv 2 feet, draw a 
horizontal line 36 inches long; mark the center, which is 
i^ inches from each end. From this point draw a 
vertical line 12 inches long. Now take your rule and 
place the end of it at the vertical line, and the 18-inch 
mark on it; wherever it strikes on the horizontal line 
mark it with a tack. Now make the same measure- 
ment on the other side of the vertical line and mark that 
spot where the i8-inch-point of the rule strikes the 
horizontal line with a tack or a pin, also the end of the 
vertical line the same way. Now tie a piece of twine 
that will not stretch around th.e three tacks ; pull out the 
tack at the end of the vertical line and put your pentil 
in its place. Now run your pencil around the string, 
keeping it taut, and you will be able to scribe a com- 
plete oval, 24 by 36 inches. By using this method any 
shape oval can be made; and remember that half the 



THE EXPERT SIGN PAINTER 39 

length of your oval is the measure from the outside end 
of the vertical line to the horizontal line. The horizon* 
tal line represents the full length of the oval, and the 
vertical line half the width of the oval." 

Methods for drawing the ellipse call for the employ- 
ment of the compass or dividers, but a true ellipse can- 
not be made in that manner. The result would be 
simply an approximation. Some have employed a 
series of tangents, the results in some cases being er- 
roneous, while in others they have been p:rfect, but 
such methods are too cumbersome for practical use. 
They are ingenious rather than practical. The string, 
pencil and two tacks will be found the most useful 
method for painters. 

x\n instrument called a trammel consists of two 
pieces of wood with grooves, these crossing each other 
at right angles, midway of their length, where they 
are fastened. Take another piece of wood and at a 
point one-half the width of the desired elli]:)'^e from one 
end place a pin or peg, and at the point distant half the 
length of the desired ellipse place another peg. Hold 
a lead pencil at the end representing the half of hori- 
zontal line, and with the pegs moving in the grooves 
move the pencil and stick around, rescribing a true 
ellipse. You may use any kind of sticks, even boards, 
if the ellipse is to be quite large ; the grooves may be 
made by tacking on strips of wood. 

Forming Curved Lines. — The sign painter forms 
whatever curved lines he may require on a sign board 
by free-hand, as a general thing, or where the curve is 
not extensive or demanding exact lines. But he needs 
some mxchanical help when laying out a sign on a wall 
or other similar surface, and this he does by means of 
a piece of twine of sufficient length, holding or fasten- 
ing one end of it at the bottom, according to whether 



40 THE EXPERT SIGN PAINTER 

the sign is a very large one or comparatively small, and 
with the other or right hand and a piece of chalk or 
charcoal together with the line describing the curve as 
desired. Take, for instance, a long and low wall, and 
if you wanted to run an arching line at the top it would 
be necessary to get down into the earth far enough to 
allow you to run the curve with the straight piece of 
twine, and hence some more practical means must be 
used. The way to do it is as follows : First draw the 
lay-out of the sign on paper, to the scale of say an inch 
to the foot, and then enlarge this on the wall. That is, 
you mark the paper off in one inch squares, and the 
wall in one foot squares. 

Laying Out a Star. — A star within a circle is fre- 
quently used in board advertising, and where such a de- 
vice is called for, the star may be made by first laying- 
out the circle with the large wooden dividers, then 
measuring off its circumference into five equal parts, 
making a dot at each place. Now run lines to connect 
up the five dots, say the top one is marked A, which 
letter I use merely for illustrating here. Going on the 
right-hand side of the circle we come to the next dot, 
marking it B. Then we proceed around the circle, in 
alphabetical order, A, B, C, D, E; then we run a line 
from A to C, thence to E, thence to B, thence to D, and 
finally up to the starting point, A. 

To make it a double star, make a dot in the center of 
star, and run lines straight out to each doted point on 
the circumference, or through the middle of each ray of 
the star. Then one side of each of these divisions may 
be shaded. 

Making a Large Circle. — Circles of any desired 
size may readily be formed on a wall of bulletin sign 
by driving a nail in the center and attaching a twine to 
it, on a loop, then with a crayon in the right hand 



THE EXPERT SIGN PAINTER 41 

grasp the end of the twine and so describe the desired 
size of the circle. Very large dividers are made for 
scribing circles, with the two arms of wood, terminat- 
ing at the free ends with sharp pointed irons. These 
are indispensable, almost, where large work is done. 

Getting a Level Horizontal Line. — If you want 
to run a perfectly level horizontal line on a wall and 
have no spirit level with you, take a plumb bob and line, 
which may be formed from a bit of stone or almost any 
old thing, and a piece of twine, and get a true perpen- 
dicular line on the wall. Mark it there, and with the 
dividers describe two small circles, center on the per- 
pendicular line, and just far enough apart, one above 
the other, so -that they lap a few inches. Now place a 
straight-edge across the lapped circles, exactly at the 
point where each crosses the other, and draw a line 
there. You will have an absolutely perfect level hori- 
zontal. 

To Draw an Octagon. — By drawing a square of 
the desired size of octagon, then upon this, drawing 
horizontal and perpendicular lines through the center, 
with diagonal lines from corner to corner ; then scribe a 
circle the exact size of the square and the points where 
the circumference of circle meets the dividing lines in- 
side square will be the points of the octagon. 

This simple method gives exact resul s upon any size 
of figure and is the easiest to remember and apply of 
any rule for this purpose. 



42 THE EXPERT SIGN PAINTER 




CHAPTER VI. 

Wagon and Railway Car Lettering. 

HILE many sign painters do wagon let- 
tering, very few vehicle painters do it, for 
the reason that there is comparatively 
little of it to do ; in shops where new- 
wagons are hnilt and old ones renovated and repaired, 
the lettering is done by some sign painter who comes 
and does the work when sent for, and sometimes such a 
sign painter will have the lettering for a number of 
such shops to do ; in some cases the shop may have work 
enough to keep a sign painter busy, as in those shops 
where firms using a large number of wagons have their 
vehicles built and repaired. Some of these wagons 
are beautifully painted all over the sides, and often the 
sign painter or letterer is a pictorial painter of no mean 
artistic ability. I have seen such work done, and many 
specimens of this kind may be seen on any city's busi- 
ness streets. 

The style of letter employed on wagons is in some 
respects different from that generally seen in com- 
mercial signs. As a rule, it is more or less an orna- 
mental letter. The severely plain letter, like the block, 
unless shaded and colored more or less elaborately, 
is not as a rule seen. Where a very plain letter is used 
it is generally a very fine one, Frenchy, as the saying is, 
or built on fine lines. 

Speaking upon this subject, M. C. Hillick, author of 
Practical Carriage and Wagon Painting (1900), says: 

"Perspective effects, heights, widths, thickness of 
lines, etc., because of the usually generous sweep of 



THE EXPERT SIGN PAINTER 43 

Space at command, as secured by the sign writer, do 
not come within the scope of the wagon letterer's activ- 
ity, save in rare instances. Ordinarily, wagon spaces to 
be lettered are of dwarfed^imensions and quite com- 
monly cast in irregular outlines. In wagon lettering, 
whenever possible, the extended letter frequently has 
the preference. An able and widely observant critic 
says it might be said that the customary speed of a 
vehicle can be measured by the degree of elongation 
which the letterer gives to his work, the lightning ex- 
press car representing the ultimate in one direction, 
v/hile the mammoth furniture van, with its high art 
panels, is characteristic of the other. The chief dis- 
tinguishing f-eature of wagon lettering, as contrasted 
with the average results of sign writing, is found in the 
wider variety in elegant color effects to be remarked 
of the first named. The wagon letterer essays glazing 
with many of the beautiful transparent pigments, and 
in this wise brings forth charming combinations in 
color seldom attempted by the sign painter. The 
wagon letterer's work is as a rule done with quick- 
drying colors or size, and almost invariably is var- 
nished over. Surface smoothness is therefore with 
him a matter of first importance. The art of the 
wagon letterer is full of difficulties." 

In shading letters on a wagon the rule is to let the 
shade touch where gold, silver or aluminum is used, 
making what is called a ''close shade;" whereas, if the 
lettering is done in color there should be a little space 
between shade and letter. Gold letters on black or 
white ground may be shaded with almost any color but 
a yellow, which approaches the color of gold too 
closely to avail as a shade. For gold lettering on a 
colored ground use rich reds, greens, blues, or umDer 
shades. For instance, take a rich green ground, a 



44 THE EXPERT SIGN PAINTER 

gold letter, and a rich red shade. Or a red ground, 
gold letter, and rich green shade. Black letters do 
well shaded with almost any color, particularly in the 
primary series. 

Spacing and punctuation are followed in wagon 
painting as in general sign painting. The alphabets 
used are mainly ornamental and specially adapted for 
the work ; there are hardly any limits to the ambition of 
the sign painter in this direction excepting such as he 
may choose to fix for himself. While severely plain 
letters do on a wagon, yet very ornamental lettering 
is equally becoming. 

Lettering Panels on Wagons. — Lay out the let- 
ters on one panel with chalk, then apply a sheet of 
newspaper against the inscription, pressing it out 
gently yet firmly, using a soft cloth for the purpose. 
Before removing the paper make marks to register it, 
if you cannot take the whole inscription at one time, so 
that when you come the second time you can place the 
paper exactly where it will take up the design where 
you left off the first time. Take the paper over to the 
opposite panel, and press it gently against the panel, 
which will transfer the design in chalk to the surface 
thereof. Repeat the operation until you have the 
entire inscription transferred. The use of this process 
is obvious. It will save you the time required for 
laying out the second panel, besides giving you a cor- 
rect duplicate of the first or original lay-out. If sev- 
eral wagons are to be lettered with the same inscription 
it will be best to make a stencil pattern, which may be 
done by coating manilla paper on one side with japan 
black and when it is dry press the black side against 
The chalked design on the panel, and then prick out the 
]^attern, with a pin or with a tracing wheel. 

Lettering a Diagonal Panel. — When vou letter 



THE EXPERT SIGN PAINTER 45 

on an inclined plane, as on a diagonal panel, slant the 
lettering towards the highest part of the panel. 

Making Skeleton Letters. — To make a skeleton 
letter, let the line be on the basis of ^ inch for a 6-inch 
letter, and f inch for a 12-inch letter. Fill the inside 
of the letter with any color or tint that will agree with 
the other colors used. This may be lined the same as 
the outer edges of the letters, and the work may be 
done in gold or in color. It requires skill and care to 
produce a fine type of skeleton letter. 

Decalcomania Letters for Passenger Cars. — 
These letters are very useful in lettering passenger rail- 
way cars, but they have their limitations also. At first 
glance it might be thought that they would be cheaper 
than the hand-painted work, and that almost anybody 
could apply them, but this is not the case at all. The 
first coat of decalcomania letters is greatest, so 
that where only a few, or comparatively few, are used 
the cost places them very close to hand-painted work, 
there being no standard letter that would allow the 
manufacturer to make a large number of them at one 
time, and in addition to this the number of passenger 
cars on most lines is not large, and gold letters last 
several years. Only the great trunk lines would be 
able to use this letter economically. 

Nor can these letters be placed by unskilled labor. It 
requires skill and accuracy to apply transfers in line, 
to put them on right and rapidly, too. This is particu- 
larly true where the letters happen to go over beaded 
work with deep grooves. Where a large number of 
letters can be used the process is much more economical 
than hand-work. But when large plain letters are 
used, without shading or edging, which condition ap- 
plies to most passenger car lettering, an expert sign 
painter can put the letter on with his brush almost as 



46 THE EXPERT SIGN PAINTER 

rapidly as the man with the transfer can do it .especially 
over irregular surfaces. 

In a report on this matter, made at the convention 
of master car painters, it was said ; 

"The almost universal use of gold leaf letters on the 
exteriors, however, brings out one of the main objec- 
tions to the use of transfers for this work. The decal- 
comanias I have experimented with are imitation gold 
made by applying a glaze over silver or aluminum leaf, 
and while they match the gold leaf closely at the outset, 
they do not stand the weather exposure and soon fade, 
or change color and lose their richness, and after a 
year's exposure do not compare favorably with the gold 
leaf, as the latter will wear for years without changing. 

"Decalcomanias may be used to advantage in many 
places, and with economy when several letters can be 
applied from a single transfer. They are also suitable 
for all kinds of interior work where they do not get the 
weather exposure. As a rule, however, we do not 
think transfers can be used to advantage for lettering 
the exterior of passenger train cars, because of the dif- 
ference in style and size of letters now in use, the small 
saving effected, the difficulty connected with their ap- 
plication over a beaded surface, and the fading of the 
imitation gold leaf." 

Decalcomania letters may be used on doors, water 
coolers, etc. There is no question about their value for 
interior work. They are not fit for outside lettering, 
they will crack in warm weather, while there is difficulty 
to get them to lie flat, or to go into and over mouldings 

For small signs, name plates, and the like, they cost 
much less than hand-work, say 64^ cents as against 75 
cents in favor of the transfers. One painter says that 
he did nine cars with them, arid that the cost was less 
than the cost of the gold leaf. 



THE EXPERT SIGN PAINTER 47 




CHAPTER VII. 

Brushes and Lettering Pencils. 

HERE are certain brushes used in sign work 
that should be of the very best quaHty, and 
at the same time there are some that may 
well be of a cheaper sort. The usual 
brushes used in lettering are made of camel's hair, and 
either red or black sable. The so-called French camel's 
hair brushes are the best for all purposes, being a little 
stiffer than the common kind. Sable brushes are too 
stiff for some kinds of work, but are handy for putting 
on size and for similar purposes. Red sable brushes 
are more pliable. The letterer should have a good 
stock of pencils on hand, all convenient sizes. The 
cost will amount to a little at first, but properly cared 
for pencils w^ill last a long time, and earn many a dollar. 
Buy them in dozen lots at least. Handles also may be 
bought, and experts consider the handle for the pencil 
a necessity, justly claiming that nobody can make a 
satisfactory or true curve without a good, true round 
handle, of the required length. A distinction should 
be made in the color of the handles. For instance, red 
sable should have red handle ; common camel's hair, 
green, and French camel's hair, yellow. . This will ena- 
ble you to tell at a glance which brush to use. 

Sable pencils always prove the most satisfactory for 
general use, although for glass work, etc., where light- 
weight colors are used, the camel's hair pencils are used 
very extensively, many preferring them to any ovher, 
after they become accustomed to using them, while for 



4e THE EXPERT SIGN PAINTER 

general filling in, etc., the bear hair and ox hair brushes 
are always satisfactory. 

The two-inch camel's hair brush is used for applying 
water size, for gilding on glass. This brush is gen- 
erally called camel's hair mottler. There is on the 
market what is called the sign-writer's one-stroke brush. 
You will find this brush the most sasisfactory for mak- 
ing advertising signs, as it is a great time saver. Cam- 
el's hair tips, two inches wide, are the best for laying 
gold leaf, while the badger hair tips are the best for 
laying silver leaf. The two and one-half inch is gen- 
erally preferred. 

It is important to take good care of tips ; keep the 
hair straight by combing them out occasionally with a 
common hair brush, and when not in use keep them be- 
tween the leaves of a book, being careful to have the 
hairs straight. Naturally much depends on the proper 
care of these goods. Lettering pencils and brushes 
should always be washed out clean before laying away. 
A good method to keep pencils that you are not using 
is to wash them out with turpentine when through 
working, and grease well with lard oil. 

Brushes will be made up by most makers, as a rule, 
of any desired length of hair. The difference between 
ox hair and black sable consists in the former being 
stiffer and less resillient than the other ; the black sable 
is very soft, pointed and resillient. Black sable is used 
mainly for lettering on glass. Ox hair is used on 
board, card and oil cloth lettering. Black sable is made 
up in pencil form only. Ox hair is used for making 
pencils, one-stroke, and sign painters' brushes. Black 
sable hair is finer and costlier than ox hair. Where 
ox hair proves too coarse the maker will make up a 
mixture of hair that will give you a cross between the 
soft sable and stiff ox hair. 



THE EXPERT SIGN PAINTER 49 

The length of hair for heavy colors should not ex- 
ceed one inch. The red sable pencils, intended exclus- 
ively for lead pigments, may well be f inch in length. 
For large letters, with extended bars, the pencils handle 
best at a length of hair of i^ inches. Truer lines may 
be drawn with the pencil of longer hair, as the hand 
tremor is less perceptible and the color is laid with a 
liner edge. It is advisable to have a part of the black 
sable pencils furnished in i^ inch length and part in i^ 
inch. The camel's hair pencils may be likewise ad- 
vantageously divided into the two lengths noted. 
The chief drawback to be noted in respect to pencils 
with the hair set in quills is that in course of time the 
quills become dry and crisp, and then crack open, neces- 
sitating constant repairs. To fit the handle into the 
quill pencil, steam the quill until it becomes soft and ex- 
pansive ; then force the handle firmly into the quill and 
stand aside to season out. The principal feature of a 
first-class pencil is this : when put in turpentine or paint, 
it should offer a fine point, and when applied to the sur- 
face this point should become square. Every experi- 
enced letterer or sign writer is alive to the pleasure of 
w^orking with a pencil that lays Oiut square at the end, 
and with which corners, right angles and easy sweeps 
are handily executed. 

The elasticity of a pencil is an important item. The 
live, vital, springy, perfectly elastic hair in a pencil 
should, when withdrawn from the surface, assume a 
straight, shapely position, and the point of elasticity in a 
strictly first-class pencil will be at about the center of 
the hair. The pencil that must be loaded with paint at 
base of the hair — this paint then being allowed to dry, 
in order to strengthen or stiffen it suf^ciently to prevent 
it from becoming "slimpsy" and warping out of shape 
— is of no value to the letterer. An artificial elasticity 



50 THE EXPERT SIGN PAINTER 

cannot be made to do duty in a lettering pencil. In the 
selection of camel's hair pencils, one cannot easily be 
over particular. As a rule, camel's hair pencils do not 
average as uniform in quality as the sable. One pencil 
may have the elasticity of a spring-tooth harrow, and 
the next one, equally promising in appearance, may be 
as lifeless and "tloppy" as the housemaid's floor mop. 
It is very much akin to a game of chance to pick good 
pencils from a box containing the fleece of the meek and 
lowly camel. It is the lucky purchaser, indeed, who 
does not draw quite numerously of the worthless kind. 
In selecting the camel's hair pencil, whip the hair over 
the forefinger, and note the amount of elasticity dis- 
played. The hair should have a rebound and a prop- 
erty for holding itself in shape against even rough 
handling, and when this is evident the buyer need en- 
tertain no fear of the pencil as a useful tool. — M. C. 

HiLLICK. 

Care of Brush and Pencil. — In the days when I 
had the care of a shop and a force of men, a precept was 
''Never get m too big a hurry to take good care of your 
tools." For many years I have given my black and red 
sable, ox and camel's hair brushes, scroll and striping 
pencils a good washing in turpentine, bsnzine, or gaso- 
line, whichever was most convenient, preferring turps; 
then use some non-drying oil, preferably lard or neat's 
foot, for summer, and olive or nut for winter. I dip 
the tip only in the oil, squeezing it with thumb and 
finger back into the heel of the brush ; then I take some 
clean, soft waste, or fragment of old gauze underwear, 
and wije the oil out of it. I have a narrow pasteboard 
box into which I throw them, heads all one way. If I 
am using a number of them where I have no oil handy, 
I wash them out and throw them into the box with the 
heads in the opposite end, so that I never have any 



THE EXPERT SIGN PAINTER 51 

trouble telling which needs oiling. Brushes kept in this 
way will last almost a lifetime, if not worn out. They 
will not remain crooked when kinked, and are ready for 
use without rinsing. 

Bristle tools for landscape, figure, bulletin or other 
pictorial work should either be wiped as dry as con- 
venient by brushing, or washed in benzine or gasoline, 
then washed with any good soap and rinsed in good 
clear water. 

Ox or camel's hair tools may be treated in the same 
way with good results. It is about the only way to 
keep bristles soft and pliant, especially those which have 
become more or less worn. 

A good way to keep the bruslies used in the necessary 
surface work is to wrap the brush with a piece of paper 
of suitable size to cover the stock, around which it 
should be closely wrapped, extending far enough be- 
yond the point of the brush to turn back and enclose it 
completely; then place in a vessel of water as usual. 
Brushes in all colors may be kept in the same vessel, 
and as long as there is any water in the can the paper 
will keep moist and preserve the brush. Besides, the 
brush is not filled with water, as it would be if im- 
mersed, and it is all ready for use without anything 
more than a slight swing to throw off the few drops of 
water which may settle in the point of the brush. — • 

W. T. HUEBEI.L. 

When not in use, grease the pencil with a mixture 
made up of two-thirds iiiutton tallow and one-third lard 
or common vaseline. The tallow is a little too hard 
when used alone, but with the lard or vaseline it is suffi- 
cient soft to work into the pencil nicely, and at the same 
time hold it perfectly in shape. Some workmen claim 
it to be the best way to flatten the pencil in greasing, 
and to so leave it ; but a majority of sign writers and 



52 THE EXPERT SIGN PAINTER 

pencil hands generally are, we believe, agreed that, 
after working the grease thoroughly into the hair, the 
pencil should be rounded out and drawn to a tip. This 
is the most natural form of the pencil, and holds the 
body of the tool to its truest lines. As a very deli- 
cately-adjusted tool, with an organism extremely sensi- 
tive, the lettering pencil should not be pasted against 
the window glass nor left in any position where it may 
be reached by dust or uncleanly accumulations. A 
dust-proof pencil holder, made of japanned tin or wood, 
long enough to take the pencil and its handle intact, 
and small enough in bulk to be carried in the coat or hip 
pocket, is the most convenient pencil keeper. — AI. C. 

HiLLICK. 

Various Ways. — The painter will have his own way 
for keeping his lettering pencils and brushes when not 
in use, and the following represents a few of these 
methods : 

It is a good plan to grease a pencil before using it, 
when it is new, straightening it out on glass and keep- 
ing it there for a week. This will establish the hair in 
the proper form. 

Vaseline is good for greasing pencils with, but there 
are cheaper things, such as petroleum jelley or cosmo- 
line, the latter costing 25 cents per pound. 

Have neat's foot oil on hand, dip the pencil in this 
before laying it away. The oil prevents drying of any 
linseed oil in the heel, and is easily washed out with 
turps or benzine. 

A painter claiming thirty-five years' experience says 
that the best way to clean out a pencil is to rinse it in 
turpentine, then work it in fine dust or ashes, then 
shake it out well. 



THE EXPERT SIGN PAINTER 



53 



CHAPTER Vlil. 



The Correct Use of Color in Sign Work. 




HE sign painter should be a good colorist, 
as well as a good letterer. When the 
board is painted a pure white the letter- 
ing may be almost any color one may 
choose, and it will look right. And the same rule 
holds good with a black ground. This is in accord 
with the rule that black and white agree well with all 
colors, ev^n causing discordant colors, when joined 
together, to appear well when placed so as to separ- 
ate them. 

The following little and far from complete table 
will be of some service in this connection : 



Ground Color. 

Stone Colox". 

Black. 

White. 

Light Blue. 

Bronze Green. 

Marble 

Mahograny Graining. 

Walnut. 

Dark Oak Graining. 

Light Oak Graining. 

Chocolate. 

Dark B^ue. 

Medium Blue. 

Vermilion. 

Sage Green. 



Lettering Color. 
Black. 

Any Color. 

White or Gold. 

Dark Blue & Vermilion. 

Gold, Yellow & Red. 

White Incised Letters. 

Any Light Color & Gold. 

ditto. 
Gold or Red. 
White. 

Pink, Salmon, Rose. 
Gold, White Outline. 
Gold. 

Gold or Yellow. 
White. 



Shading Color. 

White & Dark Stone. 

Any Color. 

Plain. 

Black & Med. Blue. 

Emerald Green & A'ermi! 

ion. 
Various. 
Various. 

Dark Color & Black. 
Black. 

Letter Color & Black. 
Plain. 

Orange and Vandyke. 
Green, White, Black. 
Purple, Brown, Black. 



Here is a very neat and suggestive combination of 
colors : Make the ground a rich leather color. Let- 
ter in gold, with two narrow raises of black, and one 
of transparent color, umber. Or, a stone color 
ground with incised letters. Or, Emerald green 
ground with countersunk letters of pure white, with 
a gold line around them, raised with burnt sienna 



54 THE EXPERT SIGN PAINTER 

and white blended, and a cast transparent shadow 
of a deeper shade of green. Or, as an alternative 
suggestion, a cream ground, gold letters, raised with 
two blues and a white and a cast shadow deeper than 
the ground. These are suggestions, indicating what 
ma}' be done in the way of fine coloring in sign let- 
tering. 

Some Color Notes. — Gold appears handsome on 
a blue or red ground. 

A tinge of blue in white lettering color on a black 
ground will increase its strength. 

Light blues, pinks, greens and purples are not suit- 
able for ornamental work on signs. 

The field of a sign must not be florid, for that will 
detract from the beaut}^ of the lettering. 

Dark colored letters look best when glossy, and 
light colored letters look best without gloss. 

Lettering in connection with fresco work should 
be without gloss, so as to harmonize with the flat 
effect of the fresco. 

Flashy colored g-rounds are in bad taste. They are 
all right for very cheap grades of work. 

The color of the lettering should be in strong con- 
trast with the ground, in order to secure perfect legi- 
bility. 

A badly colored sign will look vile, no matter how 
well the lettering is done. 

Certain colors, when grouped together, will either 
make or mar a sign. The choice of color is very im- 
portant. 

As a rule light letters on a dark ground look bet- 
ter when close together, for the reason probably that 
less of the background shows. A pleasing and com- 
pact effect may be had by drawing outlines close 
together and filling in intervening spaces. 

Have the tones of your reds, blues, greens, etc.. 



THE EXPERT SIGN PAINTER 65 

well balanced. When you require a red, select the 
right one. If you need a bright red, be careful not 
to select a fiery red, or if a warm red is called for, 
see that it is not too dull. This is well to apply to 
the choosing of all colors. Get the right tone. 

For a delicately tmted ground have very delicate 
color for the lettering. Avoid harsh coloring. 

If you have a silver-gray ground and the letters 
are to be shaded, put in a line of white between the 
letter and the shade. If the ground be made from 
white tinted with ochre to a delicate shade, then put 
in a bright straw tint. Such little touches as these 
add wonderfully to effect. 



56 THE EXPERT SIGN PAINTER 




CHAPTER IX. 

The Pigments Used in Sign Painting. 

I HE pigments required by the sign painter 
comprise most of those in use by the 
liouse painter and decorator, but for some 
purposes they must be of a much finer 
quahty than the latter demands. The white lead 
must be pure and very finely ground, and white. 
Many of his colors may be those sold in tubes, as 
being finely prepared and more economical in use. 
He wnll need these pigments on his shelves, while 
others he could manao:e to do without : Yellow 
chrome. Naples yellow, Hake white, yellow ochre, 
sienna, Indian red, vermilion, crimson or scarlet lake, 
rose madder, ivory drop black, lampblack, Prussian 
blue, ultramarine blue, and emerald green. Added 
to these are pure white lead and zinc wdiite of the 
best quality. Some of the pigments will be required 
ground in oil, some in japan or turpentine, and others 
in water, for card and muslin work. 

The following brief descri])tions of the whites, 
blacks, blues, reds and yellows will be found useful : 

The Whites. — Pure basic carbonate of lead, or 
white lead, ground in oil, is used in large quantities 
by the sign painter, chieflv for grounding in his sign 
boards, and it must be of the best quality, white and 
finely ground in oil. Excepting for wall and other 
cheap work, he has no use for compound or imita- 
tion leads. Sometimes he adds zinc white to the 
lead, to get a whiter surface. Flake white in tubes 
is best for lettering- with ; flake white being a super- 
ior form of lead carbonate. It has good whiteness, 



THE EXPERT SIGN PAINTER 57 

and covers well. Zinc white may be used in its place 
for some work, say where the work is extensive, or 
not demanding the finest coloring. The best me- 
dium for thinning white paint is a mixture of turpen- 
tine two-thirds and a good colorless copal varnish 
one-third. 

The Blacks. — Of the whole black family ivory 
drop black is the purest and deepest in tone. It de- 
mands very careful ^-rinding, and owing to its hard, 
dense nature the grinding is not easy. For sign 
painting" it is best ground in turpentine, gold size, 
and a little varnish to bind it. With an excess of 
turpentine as compared with a binder the color is 
very likely to rub up. Lampblack is rather more 
durable than drop black, and should be employed 
where great durability is demanded. Drop black 
may be added to it in certain proportion, deepening 
its color. This would form a sign painter's lamp- 
black, and will be found useful for general uses. 

Lampblack is of a greasy nature, which works 
against good drying, hence requires more driers, 
this operating against its durability by injuring the 
oil in it ; nevertheless, lampblack lettering will stand 
long after the white lead ground has weathered away. 
The grease may be removed by calcination ; add 
some alcohol to a quantity of it, in a shallow vessel, 
set fire to it, and when the fluid has burnt out the 
black will be free from its grease. This will not 
injure its color, but improve it, giving it better cov- 
ering power and causing it to spread better. Such 
a black is useful particularly where a sign is to be 
done in dead black lettering. 

For water color work lampblack may be cut with 
vinegar or alcohol. For muslin work it may be thin- 
ned with benzine. For some purposes the lampblack- 
may be mixed with benzine or turpentine to a paste. 



58 THE EXPERT SIGN PAINTER 

then add a little raw oil from time to time, very grad- 
ually, and work the mass to a condition approximat- 
ing that of not-hard butter. 

The Blues. — The coloring power of Prussian blue 
is very great, but it is weak in stability, changing 
color. A sign painter says that his best results with 
this pigment come from adding a little zinc white to 
it, lettering with this on a zinc white ground. To 
prevent Prussian blue from spreading, add a little 
lime-water. Ultramarine blue is the only blue that 
will stand outside exposure. For shading purposes 
we may darken ultramarine blue with Prussian blue, 
or with black. Ultramarine blue is one of the most 
useful pigments the sign painter has at his command. 

The Reds. — The sign painter is fortunate in hav- 
ing for his use quite a large family of good reds, a 
color that is very much used by him. Indian red is 
a good wearing color, and finds many uses in gen- 
eral sign painting. It is useful also for toning down 
Vermillion, and by itself it is very rich and effective. 
Of the vermilions, Chinese leads, though English 
vermilion is used most extensively, being very satis- 
factory as regards color and permanency, and much 
cheaper than the brighter and finer Chinese article. 
The darker crimson shades of English vermilion are 
the most durable, and for this reason are the most 
employed in sign work. 

Chinese vermilion seems to improve with age, 
after its application as a paint, and it is particularly 
good for lettering on a white ground, in this respect 
being equalled by no other pigment or color. It 
greatly brightens a job on which it is employed, ow- 
ing to the peculiar brightness of its tone. Quick- 
drying thinners added to it will greatly impair its 
color. Hence it is advised that it be thinned only 
with raw oil and turpentine, adding some quick-dry- 



THE EXPERT SIGN PAINTER 59 

ing varnish for a drier. If you intend varnishinjj 
over this, then add a httle crimson lake to the var- 
nish. Use the pure crimson lake only. White lead, 
as well as driers containing lead salts, will darken 
both English and Chinese vermilions. Be sure to 
always mix enough vermilion for the job, in order 
to insure one shade, which might not occur when 
mixing two batches for the one job. Vermilion does 
very well over a Venetian red ground. Being a 
very heavy pigment, vermilion settles in the cup or 
pot, and hence must be stirred frequently. 

As a general thing, if a red is wanted on outside 
work, it is betteT to use Indian red, Venetian red, 
light red, or madder lake. For mixing and thin- 
ning use two parts of boiled oil, two parts of gold 
size, five parts of turpentine, and one part of color. 

Artificial vermilions vary greatly in color and in 
durability. They do not appear to act so well on 
a white lead ground, hence it is advised that zinc 
white be used for a ground. This, however, refers 
only to those that contain some quicksilver. Arti- 
ficial vermilions may be mixed with other pigments, 
but are best used alone. For muslin sign work, in 
water color, it does not discolor as when used with 
oil or turpentine. Upon the whole, this form of red 
is rather for use in temporary work than for that 
demanding more or less permanency. 

It is well to remember that in using artificial ver- 
milion or vermilionettes, two coats will wear better 
than one coat. 

Quicksilver vermilion is liable to tarnish, yet it is 
more durable than the artificial article, holding color 
better, darkening if anything, while the other sort 
tend to fade out in the light. 

Transparent Color. — The pigments useful for 
painting on glass when transparency is desired are 



60 THE EXPERT SIGN PAINTER 

as follows : Prussian blue, crimson lake, Indian yel- 
low, burnt sienna, lampblack, and the aniline dyes, 
mixed with white shellac. The latter make very 
beautiful colors, but are not durable against the light. 
They may be employed for temporary work. The 
first pigments named, those other than the anilines, 
may be mixed with the following: Mix up Venice 
turpentine two ounces, and spirits of turpentine one 
ounce ; rub these up together and apply with a brush. 

Permanency of Colors. — Chrome yellow will 
darken under exposure to the air, the sulphur of 
which acts upon the lead in the chrome and produces 
black sulphide of lead, just as is done in the same 
manner with white lead. Chrome yellow also has 
the fault of fading more or less under exposure. 
Prussian, cobalt, Antw^erp, and indigo blue all fade 
badly, whether alone or in combination with other 
pigment. Green made from Prussian blue and yel- 
low chrome will fade out. A less bright green, but 
one that will be more permanent, can be made from 
yellow ochre and lampblack. Carmine lake, vermil- 
ion, and red chrome are all to be avoided in exterior 
w^ork. The siennas, umbers, ochres, Vandyke brown, 
and all the earth colors, are permanent. Venetian 
red, Indian red, light red, and madder lake are re- 
liable colors. 

By permanency is meant that the pigment is proof 
against strong sunlight, acids, fumes, gas, etc. That 
is, the color will, to a certain extent, be immune 
from these agencies, and will not change color with- 
in a reasonable time. Speaking more correctly, no 
pigment or color is absolutely proof against these 
things, but some are very much more so than others ; 
some quickly deteriorate in color, while others re- 
tain their color with more or less tenacity. It is 
very important for the sign painter to understand 



THE EXPERT SIGN PAINTER 61 

his colors, knowing just what each one will do under 
certain conditions of exposure or wear. The expert 
of course knows this, and hence escapes possible loss 
from the wrong employment of pigments in his work. 

Pigments produced by the aid of heat will change 
under the influence of heat of a different tempera- 
ture, and will assume a darker tone of color. 

Pigments produced by the dyeing process, fixed 
by a mordant upon some base, rose pink, for in- 
stance, which is made by precipitating a fugitive lake 
color on a base of whiting, will bleach out and ex- 
pose its base, which* is white. So we can understand 
why some pigments darken, while others fade or 
bleach out more or less. 

Silicate of soda or water glass may be mixed with 
the following pigments without injuring their color : 
Venetian red, ochre, cobalt blue, ultramarine blue, 
cobalt green, ivory black, zinc white, barytes, and 
whiting. 




62 THE EXPERT SIGN PAINTER 

CHAPTER X. 

Constructing and Preparing the Sign Board. 

ELECTING THE LUMBER.— Expert 
opinion differs concerning the selection 
of lumber for sign board making, some 
arguing that the outer wood, or that 
nearest the bark, is better seasoned than that near 
the heart, and that owing to its peculiar formation 
of fibre is less liable to warp, split or shake. On the 
other hand, others make the same argument for the 
wood that is near the heart. Be this as it may, cer- 
tain it is that the wood used in sign making must be 
well seasoned, and be of good clear grain. Clear 
white pine has always" been chosen, but owing to its 
scarcity and very high price it is less available than 
formerly, and we find a very good substitute in yel- 
low poplar, which will not warp and contains no sap. 
Many think it far superior to white pine for the pur- 
pose, and certainly it is no mean rival. 

Air-seasoned lumber is best, for this reason : Kiln- 
dried lumber contains about twelve per cent, of mois- 
ture, the normal amount of moisture in green lumber 
being twenty per cent. Hence, when a sign is made 
of green or unseasoned lumber it will shrink, for 
some of the moisture will dry out; wdiereas, kiln- 
dried lumber in a sign will absorb the missing eight 
per cent, of moisture and swell that much. This is 
why furniture, which is made from kiln-dried lumber, 
always swells, making it difificult to shut or open its 
drawers, etc. In other terms, lumber containing an 
excess of moisture shrinks, while that partially dried 
out will take up moisture and swell. 



THE EXPERT SIGN PAINTER 63 

Width of Boards.— For a large sign board it is 
better to use narrow widths, for the reason that if 
there is any drying out or shrinkage the same will 
be evenly distributed over many cracks, as compared 
with large boards, which will show shrinkage in few- 
er cracks, with a corresponding increase in the width 
of the cracks. Wide boards are apt to warp, show- 
ing a hollow, and this will not be apparent in narrow 
boards. If a sign board must of necessity be formed 
of wide boards, then let each board differ with each 
other board as to the formation of its grain, or direc- 
tion of wood grow^th, which will insure against warp- 
ing to a great extent. Also, wide boards may be 
canvased, which see. 

Putting the Sign Board Together. — It is best 
to use two or more boards where a sign is more than 
two feet wide, the narrow tongued and grooved 
boards being best for anything more than one foot 
wide. When well made such a sign will show as 
solid a face as one made from one board. 

A sign that is to be lettered on both sides cannot 
be cleated, but rarely being of large size they can 
be made to stand without cracking if well joined to- 
gether with tongued and grooved boards, with a stiff 
framing. If wider boards are used, not tongued and 
grooved, or where narrow boards are used, minus 
the tongue and groove, the edges may be strongly 
glued together. Or to make assurance doubly sure, 
the boards may be pinned together, by boring holes 
in the edges with brace and bit, and inserting wood- 
en pins, which should be glued also. Coat the edges 
also with glue. This makes a very solid job. 

Cleats of proper width and thickness should be 
firmly screwed on the back of the board, allowing 
as many screws to a cleat as may be necessary to 
make fast the underlying board, and too many screws 



64 THE EXPERT SIGN PAINTER 

will do no harm, while too few are apt to prove in- 
effective. Countersink the screws. Nail on end 
cleats, which will hold the ends of the boards to- 
gether. Then run a rim around the sign, one edge 
flush with the back of the sign, while the other edge 
extends over the front an inch and more, according 
to the size and character of the job. Under this rim 
put a moulding or quarter-round. These tend to 
strengthen the sign board, while adding to its ap- 
pearance. 

Seeing that it is to be subject to wind and weather, 
a sign board, to insure durability, must be made 
practically solid, with no open joints or parts where 
rain or damp may enter. It must be clamped very 
firmly together. All joints must be glued or leaded, 
and the surface be well smoothed with sand paper. 
A rough sign board may be canvased, as follows: 

Canvasing a Sign Board. — Make up a paint of 
white lead in oil, thinned with equal parts of boiled 
oil and turpentine, adding a small amount of hard- 
drying varnish of good quality. Apply a coat of 
this to the sign board, and while yet fresh on the 
board lay on it a sheet of light weight canvas or 
duck, which must be stretched tight, tacking it on 
the sides and ends. Then apply immediately a coat 
of glue size, which is to be allowed to dry. Then 
apply a coat of pure white lead mixed as for tin 
signs, that is, one that is not brittle and yet not too 
elastic; say one-fourth oil to three-fourths turpen- 
tine. Another method is as follows : Give the board 
two priming coats in the ordinary way, and when 
dry sandpaper smooth. Now make up a stiff paste 
of white lead in oil, japan gold size, and dry white 
lead; apply a good stiff coat of this paint, then lay 
on the canvas, which must be pressed down well with 
a roller or cloth, to remove any air bubbles or blis- 



THE EXPERT SIGN PAINTER 65 

ters. When this has become dry it will be ready for 
painting on, using ordinary oil paint, though it is 
usually best to precede the paint with a coat of glue 
size, made quite thin, and when this is dry sandpaper 
it. 

It is sometimes more economical to canvas a sign 
than to use the best lumber and workmanship, and 
the same with an old sign, being better to canvas 
than to scrape or burn off the old stuff. 

Painting the Back. — It is important to paint the 
back of a sign board, applying at least one good coat 
of oil paint, for this will repel water and moisture, 
and so help in preserving the front. Any color will 
do, the principal thing being that the paint is of good 
quality. Any odds and ends from daily use will 
answer, straining it if necessary. All cracks should 
be puttied, so that the rain can not get in at any 
point. All irons supporting the sign or attached to 
it should be properly coated. Two coats of paint 
will be better than one, of course, but one at least 
should be applied, and this should be good and heavy. 

General Remarks. — Signs are made in various 
forms, and of metal as well as of wood, but the same 
general rule will apply in all cases of sign making, 
namely, that to secure a good result the sign board, 
whether metal or wood, must be well prepared or 
made. Formerly sign boards were exclusively a 
product of the shop, but in these days the carpenter 
or metal worker prepares them for the sign painter, 
in nearly every case. This is in accord with the mod- 
ern tendency towards specializing all kinds of work. 
And it is just as well that it is so, as sign board mak- 
ing, as well as wooden letter making, properly is 
not a work for the sign painter. Nevertheless, I 
have considered it advisable to offer some practical 
suggestions for sign board making for the benefit 



66 THE EXPERT SIGN PAINTER 

of those who do not find it convenient to use the 
ready-made article, the thousands who do not Hve in 
large cities or whose business renders it impracti- 
cable to use other than shop-made sign boards. 



THE EXPERT SIGN PAINTER 67 




CHAPTER XI. 

Priming and Painting the Sign Board. 

HE painting of a sign board will be done 
according to its purpose and price. It is 
quite possible to paint a sign that will last 
forty or more years, but this will be done 
only by observing scrupulous care with every step 
of the work, from the priming of the board to the 
lettering and finish. There are hurry-orders that 
require a sign turned out in twenty-four hours, but 
obviously such work cannot last over a year. A sign 
painter says he has done gold and black signs in that 
time that have lasted well for four or five years ; but 
if so, it was against the average life of such work. 
Where a customer asks for work in such quick time 
he does not expect it to last long. For ordinary 
v7ork a sign may be given a week from start to finish, 
but for the very best class of work a month is none 
too long a time. This applies to both wood and 
metal signs. 

The durability of a sign can be no greater than 
what its foundation warrants. Durability depends 
upon the best of preparation of board, surface, and 
finishing coats. Poor priming means a short life. 
Hence priming requires the best of white lead-in-oil 
paint, well prepared by mixing and straining, well 
rubbed in, and evenly applied, just as is done in first- 
class house painting. 

Priming, Sandpapering^ Etc. — White pine of se- 
lected quality will show no knots or other imperfec- 
tions. Such quality, however, is rare, if not impos- 



68 THE EXPERT SIGN PAINTER 

sible. Shellac all knots and sap, and if the board is 
very faulty in this respect, it will be better to shellac 
the entire surface, using the shellac very thin, and of 
the best quality of white or orange, according to 
color the finish is to be, dissolvd in pure grain or de- 
natured alcohol. Some use, instead of shellac, where 
the finish is to be black ground, coach varnish made 
black with japan drop or ivory black. Poplar having 
no sap needs only the lead priming on the bare wood. 
The priming paint consists of white lead in oil thin- 
ned with raw oil and a little turpentine, adding a very 
little driers. This is for a first-class job. Priming 
is better if it does not dry too quickly, as it will have 
more time to soak well into the pores of the wood. 
For this reason also boiled oil is not to be used in 
priming. Thin paint is better than that which is 
rather heavy. Some prefer priming with equal parts 
of raw oil, turpentine, and japan gold size, for thin- 
ning a very little white lead. Others again prefer 
varnish as a primer, using good coach varnish. 

Sandpapering, Shellacing and Puttying. — The 
priming is to be well sandpapered when dry enough, 
and the surface made smooth. Dust off clean, then 
putty up all defects of crack or nail hole. Use white 
lead putty for this, and as the putty will not dry hard 
for a long time, it is usually best to shellac over it 
before second coating. Some prefer to shellac all 
large defects and glaze with putty on the bare wood, 
or on the shellac, rather. The putty should be made 
on the plan of the carriage painter's putty, with dry 
lead and oil lead, mixed with quick rub varnish and 
a little japan. If the finish is to be black or blue, 
it would be well to make the putty dark. The putty 
must be made to level up with the surface, otherwise 
it will show in the finished sign. When a sign board 
is given sufficient time in which to dry the putty will 



THE EXPERT SIGN PAINTER 69 

become hard as cement, and in this condition it will 
sandpaper easily and well. 

Where a large space has been puttied over it is 
well to lay a silver or aluminum leaf over it, to pre- 
vent the putty sweating out through the fmish. Or 
shellac will do in place of the leaf, if more convenient. 

Second and Third Coats. — The second coat should 
be composed of white lead in oil, thinned with equal 
parts of raw oil and turpentine, adding a small 
amount of driers. i The coat should be medium 
heavy, and be well brushed out and laid on evenly. 
The second coat dry, apply the third coat, for which 
use white lead in oil, and if a white ground, then add 
about one-third zinc white, which will make a whiter 
job. Thin with raw oil and enough turpentine to 
giA'e a rather dead surface, or one not showing a 
gloss; perhaps an egg-shell gloss would be the name 
for it. If too glossy the lettering color will be apt 
to creep. Add just enough good japan drier to dry 
in reasonable time. 

Making An Extra Good Surface. — If an extra 
good hard, smooth surface is desired, then, after the 
second coat has dried hard, apply a coat of English 
or Reno's filler, three parts, and dry white lead one 
part. Mix to a paste with equal parts of rubbing 
varnish and gold size japan, thinning with turpentine 
to a working consistency. When this coat has dried 
hard, rub it down with a block of pumice stone or 
artificial stone, called Schumacher's, and water, to a 
level and smooth surface, same as that made by a 
carriage painter. After which applv two or three 
coats of flat color, each rubbed down smooth. The 
color of the coats may be as desired, the last coat 
forming the background for the sign and on which 
the lettering is done. It may be varnished if de- 
sired, or left dead flat, lettering with leaf or paint 



rO THE EXPERT SIGN PAINTER 

English Method of Painting Sign Board. — Mix 
together equal parts of raw oil, japan gold size and 
turpentine, and with this thin up a little white lead, 
in oil. This is to be well rubbed in with a bristle 
brush. The second coat is made from equal parts of 
white lead in oil, best French ochre, and well dried 
whiting of the best quality. Each ingredient is 
ground by itself, in raw oil, until fine as possible, 
forming a stiff paste. Then the three pigments are 
mixed together until perfectly homogenous, gold size 
japan being added as a drier; then thin to a working 
consistency with turpentine. Apply two or three 
coats of this paint, and rub down each coat with sand- 
paper, rubbing the last coat preferably with pumice- 
stone and water. Then equal parts of French ochre, 
bath brick and white lead are ground with two parts 
of raw oil and one part of turpentine. Apply one, 
two, or three coats of this, as may be desired, rub- 
bing down and washing off with each coat. This 
makes a surface like a plate of polished glass, for 
smoothness. It is then ready for whatever paint it 
may be desired for finishing with. Its surface will 
answer for marbling on, or graining, as well as a 
lettering foundation. The finishing coat must be al- 
lowed to stand until perfectly hard-dry. If a bright 
surface is desired, then coat it with the best copal 
exterior varnish. 

Blistering and Scaling of Paint. — The causes of 
paint scaling are, a damp wood or surface; hurried 
applications of coats or insufficient time for drying 
between coats; paint containing old or fat oil; oily 
coats, one on top of the other, with excess of driers; 
coats of oil color too heavy ; varnish over oil coats. 
Pitch pine is very apt to blister on account of its 
rosin. An unpainted back may cause paint in front 
to go. Unseasoned lumber causes most cases of 



THE EXPERT SIGN PAINTER 71 

paint blistering on signs. Paint unevenly applied or 
not well rubbed out will sometimes cause peeling off 
or blistering. 

General Remarks. — Use a round or oval paint 
brush for applying paint to a sign board; never use 
a flat or wall brush. Paint cannot be as well rubbed 
out with a flat as with a round or oval brush. Use 
a brush of best quality of hog bristles. Rub out 
paint wxll and evenly over the entire surface. 

The last coat of paint for the ordinary black-and- 
white sign should be an egg-shell gloss, not dead flat 
nor glossy. 

To wear well the paint coats should be smooth and 
hard all the way up from the start. 

Stout paint is best, but unless you handle it ex- 
pertly it will give a rough or uneven surface. 

After the priming coat use rather little oil, depend- 
ing on turpentine as the thinning agent. 

Use the best of white lead. Use pure linseed oil 
and turpentine ; turpentine from wood will give as 
good a result as that made from the gum. 



72 THE EXPERT SIGN PAINTER 




CHAPTER XII 

Church Lettering. 

ETTERING on church work is a part of 
the interior decorating, l)oth as to form 
and color, and the closer the two harmon- 
ize the better will the artistic effect be. 
It would seem that the lettering, involving usually a 
lot of scroll w^ork also, should fall to the decorator 
himself, as he could blend the two more perfectly 
than the sign painter as a rule is able to do. The 
form of the letter, known as medieval or church text, 
is highly ornamental, lending itself admirably to the 
purpose, and when the initials are illuminated or col- 
ored, as they always should be, the effect is very fine. 
There are various forms of church text, but all adhere 
n.ore or less closely to a standard, and in the arrange- 
ment of the initials or capitals there is considerable 
room for artistic treatment. The inscription should 
be composed of capitals as much as possible, or as 
may be consistent with good taste. The illuminated 
capital may be surrounded with an artistic shield, 
which may be laid in gold or a suitable color, one 
agreeing with the general color design. Vermilion 
and other bright and clean colors may be used in 
connection wnth ^old, or without it; pure deep reds, 
buffs, etc., are useful. 

The lettering must be legible, the size of the letter 
being governed by the distance from the beholder. 
Legibility first, the decorative appearance being sec- 
ondary. Yet each must be right. 



THE EXPERT SIGN PAINTER 73 

The frieze offers an excellent place for the placing 
of a decorative text, but above the chancel arch is 
the best position of an}^, being in full view of the 
people. But there are many prominent places where 
lettering may be placed, though this matter may 
well be left to the decorator, as it is in practice. 

Scrolls are generally used in connection with the 
lettering, and afford a very handsome effect ; but they 
are by no means indispensable. They are not needed 
on a frieze or band, but where there is ample space 
that would be better filled up, the scroll, becomes 
very useful, owing to its graceful lines and oppor- 
tunity for the arrangement and display of color. 
Avoid straight lines in scrolling, however, and on 
the contra, avoid the too lavish use of curves. 
Straight lines in connection with scrolling makes the 
best effect, using the straight part for the main or 
larger portion of the inscription. Lettering never 
looks as well on a curving line as on a straight line. 
Another advantage of the scroll comes when we have 
a very long text and not sufficient room for stretch- 
ing it out, in which case we can make a series of 
curves and so get it all in. But this demands care 
in the handling, getting the words in readable order, 
and avoiding the use of hyphens as much as possible ; 
and when a hyphen must be used, as may occur at 
the apex of the arch, let it divide the word correctly. 
An example of bad work may be seen in the follow- 
ing inscription : 

GLORY TO GOD IN THE HL 
-GHEST, ON EARTH PEACE. 

If the text cannot be made to fit the space per- 
fectly, it would be better to select another that will. 
Never divide a word in the middle of a scroll, even 
though there is an angle there, The hyphen must 



74 THE EXPERT SIGN PAINTER 

be placed between two syllables, not in the middle 
of one. 

It is not always possible to make the scroll per- 
fectly symmetrical, or well balanced, as, for instance, 
a short piece at the top, a longer piece in the middle, 
a short piece at the bottom — and so on. Symmetry 
is not essential to good effect, and as previously 
stated, legible and correct reading must take pre- 
cedence of design. Make a scroll for each text or 
inscription, not forcing one style of scroll to take in 
any or every sort of inscription. 

I have spoken of the letters 'or alphabet to be used 
in connection wath ecclesiastical lettering, and would 
add to it that the style of letter must accord with the 
architecture ; use old English or Gothic lettering for 
a Gothic building. Again, letter according to the 
nationality of the w^orshippers ; thus, for the English 
speaking use old English or church text, or Gothic; 
for the German use German text. Some of the 
Gothic styles of letters are almost unintelligable to 
the ordinary person, and when very much elaborated 
or ornamented it is impossible to say what the artist 
intended to make, unless w^e can take our cue from 
the balance of the inscription. This is particularly 
true of the capitals, while some of the lower-case 
letters are little better. Take the m, and it looks 
like a w^ or the n and u will look alike. It is better 
to employ the best examples of church text letter, 
of which there are several very desirable ones. 

While some waiters advise the use of illuminated 
capitals, others urge against the practice, saying that 
in contrast, say with black or dark lettering, the cap- 
ital is hard to distinguish, and in some lights may be 
almost invisible. There is some reason in this ob- 
jection, yet I believe that when properly colored the 
illuminated capital will be found satisfactory in every 



THE EXPERT SIGN PAINTER 75 

respect. Of course the light must be considered, 
and colors well chosen. Red when dark enough 
makes a very good color for the capital, and espec- 
ially in connection with gold and light blue or or- 
ange. In fact, a good colorist will make a satisfac- 
tory job with illuminated capitals, where a poor col- 
orist will fail in any case. 

Indian red is more satisfactory a color than ver- 
milion red, while brow^n lettering with green or blue 
capitals, blue or purple lettering with green capitals, 
will make good combinations, as the colors can be 
kept equal in tone very easily. 

In laying out an inscription on a scroll it is first 
necessary to ascertain the number of letters the text 
has, and then to divide up the text wnth convenient 
ii:tervals to allow of its best fitting the space. Hav- 
ing arranged the position of each word, draw around 
them the scroll, allowing the folds to serve as rests 
in the reading of the text, or to admit of its curving 
to the shape of the arch, or whatever space it may 
be intended to fill. 

The practical decorator never lays out his scroll 
first, then twisting it to fit his inscription, for it would 
be a hopeless task. The scholl must be adapted 
to fit the part of the inscription or the whole in- 
scription, as the case may be, that is to go on it, and in 
determining the shape of the folds it is a good plan to 
leave a sm.all space between the overlapping and the 
underlapping lines. 

Where quite a number of words are to be em- 
ployed, as in a panel giving the Decalogue, we should 
avoid the use of those highly complex and enigma- 
like letters which some decorators affect, and which 
few can read. The reading should be quite smooth 
and easy to understand, just as we would wish a sign 
to be. 



76 THE EXPERT SIGN PAINTER 

An expert writing on the subject says: "The func- 
tions of lettering are two-fold: in its main it ought 
to give enrichment to the material on which it may 
be placed, and, secondly, it ought to serve as a re- 
minder, without unduly asserting itself, of, maybe, 
some particular, perhaps Biblical quotation, the cor- 
rectly proportioned setting out of which would give 
equal enhancement to the structure as its interpre- 
tation would afiford ennoblement to the senses. Here, 
again, the lettering would need to carry with it char- 
acter and beauty of form. Beauty, contrary to gen- 
eral opinion, does not by any means necessarily imply 
elaboration in the form of the letter, or added orna- 
mentation." 

Symbols are largely used in church decoration, 
and a symbol is in effect a monogram. For "Jesu 
Hominum Salvator" and 'T Have Suffered," there is 
"I. H. S.", and while both renderings are of course 
incorrect, 3^et the symbol is right ; in medieval times 
the name, Jesus, was rendered in its Latin form, as 
IHESUS, which by abbreviation became I. H. S. 
The Greek equivalent for Christ was Christos, and 
as there were no Latin letters to represent all the 
Greek characters, the Roman rendering is usually^ 
XPICTOC, from which we obtain the abbreviation, 
XPC. The early Christians used XP or XPC ex- 
clusively, though frequently they incorporated Alpha 
and Omega, or A and O, with the XP or XPC. 
Then, from what has just been stated, we are to take 
I. H. S. as representing the name of the Lord Jesus 
Christ. But here, says an authority, we are faced 
v/ith a curious fact. The S in the first monogram 
and the C in the second express the same original 
letter. The Greek Sigma, pronounced S, and in 
small type written very much like our s, is in the capi- 
tal letters of the Greek alphabet exactly like our C. 



THE EXPERT SIGN PAINTER t7 

It is obviously an anarchronism to use two languages 
or two types in the same scheme of symbolism, so 
that by common consent and practice we use in 
classic decoration the classic lettering and the classic 
form I H C and X P C, and in Gothic and later work 
the later or black letter Latin forms. 

In Rennaissance decoration we revert to the classic 
lettering, but use the -medieval form as I H S and 
XPS. 

These general rules are frequently broken, either 
through ignorance or carelessness, or by the exercise 
of that artist's choice which has little respect for au- 
thority. 



'5'S THE EXPERT SIGN PAINTER 




CHAPTER XIII. 
Painting Wall Signs. 

PREPARING THE SURFACE.— The 
amount of preparation of a brick wall for 
lettering- on will depend upon the charac- 
ter of the job, its price governing the 
quality of the work. The condition of the wall also 
figures in the matter. For a strictly first-class job, 
and given a wall in fair to good condition, a few 
coats of good oil paint, well put on and brushed in,' 
will give a fine surface for good lettering. Each coat 
must be given ample time for drying in. For cheap- 
er work a sweeping down of the wall and some cheap 
rough paint will do. For good work, or ordinary 
good work, an unpainted wall, if not in the best shape 
for painting, should be swept down and be given a 
size of weak muriatic acid, and maybe it will be neces- 
sary to do some scraping away of loose stuff before 
this. After the acid wash has dried perfectly a coat 
of clear boiled oil may be applied, giving all the work 
will take. Upon this, when dry, may be applied any 
desired color of good lead paint. All breaks or im- 
perfections may be filled with a putty made as fol- 
lows : Mix to a paste with boiling oil seven pounds 
of good, clean, sharp sand, washing it to make sure 
it is clean; two pounds of slaked lime, and two 
pounds of dry litharge. If this is used on the bare 
wall, as it may be, if necessary, then let the holes be 
first coated with all the oil they will take, which may 
then be left to dry. Then putty up. This cement 
does very well in this way, and afterwards the entire 



THE EXPERT SIGN PAINTER 7D 

wall may be given a coat of oil, raw or boiled. When 
dry, give it a coat of pure white lead mixed with 
equal parts of raw and boiled oil, with a little turpen- 
tine and driers. If the ground is to be dark, then 
add some black to the coat of paint. 

Cheap Wall Paints. — For a large sign on a rough 
dead wall, rock or cliff, stir a solution of green vitriol 
(copperas or copper sulphate) into some lime milk, 
which will give a greenish paste. Lime milk is sim- 
ply freshly slaked lump lime with the surplus water 
poured off, after standing until the water has come 
to the top. This will give a yellow color, after its 
application to the wall. If a deeper color is wanted, 
then add more copperas. The paint adheres quite 
well to the wall, etc., not readily washing off, and 
has a brighter appearance than a paint made from 
yellow ochre and lime. It affords a specially good 
background for large letters in black or purple. 

Another cheap paint may be made as follows : Take 
150 pounds of bolted whiting- and mix to a paste with 
water; then add 6 gallons of hot soft soap; now 
break up 60 pounds of white lead in three gahons of 
boiled oil, mix to a paste, and add three gallons more 
of the oil ; then stir in lead and whiting together. In 
order to make the mass as smooth as possible it 
should be run through a hand mill. 

If a red ground is wanted, on a cheap job, dissolve 
four ounces of common glue and add same to four 
gallons of water. Then dissolve one ounce of pul- 
verized alum in hot water, add to the glue size, then 
stir in enough dry Venetian red and yellow ochre to 
make the brick color. Two coats of this paint will 
usually be sufficient to form a good lettering ground. 

The ground for much commercial lettering is made 
from dry lampblack mixed with boiled oil to a work- 
ing consistency. If the wall is new, or the weather 



80 THE EXPERT SIGN PAINTER 

cold, add a little benzine or gasoline, which will cause 
the paint to flow and spread more readily. 

The Lay-Out. — As wall signs are usually at some 
distance above the normal range of vision, and away 
fiom it also, the letters need to be made "fat," or 
thick, special alphabets being prepared for this pur- 
pose. 

When the sign is of considerable dimensions, it is 
best to draw a sketch of it on paper, using a scale 
say of one inch to the foot. This is the usual way. 
The length of a wall sign may usually be estimated 
on the ground, and where the bricks will admit of 
it, being conspicuous enough, they may be counted, 
estimating four bricks as thirteen inches. The 
length of a swing being known, this assists in count- 
ing horizontal distance, or sections of the work, the 
drawing showing distance also. 

Breaking On Letters. — By "breaking on" the wall 
sign painter means the painting in of the letters in 
the rough. This is followed by cutting in the letters 
with the ground color, which, usually, is black. 

Color is important in this work, and sharp contrast 
is always to be sought after. With a black back- 
ground and white letter a sign will be visible at a 
great distance, and if the letters are of the right size 
and proportions, with not too many words for the 
space, it will be easy to read the sign. Legibility 
here counts for more than mere good lettering even. 

The white letters may be broken in v.'ith pure white 
lead thinned with benzine. The benzine causes the 
paint to set quickl3^ so that the painter can at once 
cut in his work without fear of the white mixing up 
with the black. Also, in the case of large work, 
when it is not desiral^le to move the heavy staging 
often, benzine thinning enables the painter to finish 
his work completely on each stretch. 



THE EXPERT SIGN PAINTER 81 

Where the work is near enough to the ground to 
be done from a ladder, oil color may be used, fin- 
ishing the job next day. In this case use no benzine, 
but oil and turpentine and driers only. 

Benzine will not, of course, give a durable paint; 
but then most all commercial or wall signs are done 
on yearly contracts, and great durability is not ex- 
pected or desired. But the work will usually last one 
or two years, and then a change is usually desired. 
Where a business sign is painted on a wall, on the 
business house, as may often be seen, say on the 
sides, a more permanent work should be done, mak- 
ing a good foundation with pure white lead and raw 
oil, and lettering with the best oil color. 

The Style of Letter. — The wall sign painter has 
at his command a number of alphabets specially de- 
signed for his use, a style known as "fat" or chunky. 
A style of letter that would be admirable when view- 
ed close by would, of course, be useless at a distance ; 
it would lose its finer lines and leave little else to be 
seen. Big stout letters and plenty of room or open 
space, with sharp color contrast, are required for 
this kind of sign. Stout letters and of such form as 
these are makes it easy for the wall sign painter to 
letter a vast space in a day. 

The Brushes Used — Flat bristle wall brushes 
of not less than four inches width should be used in 
breaking on with, and for filling in the background. 
Cutting-in and making the borders, outlines, etc., 
may be done with sash tools of from one to three 
inches width. Usually the brush used in the letter- 
ing color, which is always light, can finally be used 
in the background color after it has become too short 
and stubby for making letters with. 



»2' THE EXPERT SIGN PAINTER 




CHAPTER XIV. 

Painting Bulletin Signs. 

HE legend inscribed in black on a cemetery 
fence, many years ago, and readmg some- 
thmg like this: "USE PINK PILLS 
AND KEEP OUT OF HERE," was 
the humble beginning of bulletin board advertising. 
It has become an immense business, it being esti- 
mated by one in a position to know that there is 
maintained in this country, at this time, about ten 
millions lineal feet of bulletin boards, the cost of 
which is, approximately, $15,000,000, the capital in- 
vested in the various plants, which are scattered all 
over the country, being upwards of $100,000,000. 

Building a Bullitin Board. — Bulletin boards may 
be built in divers ways, each way a good way, too. 
The main point is, substantiality. Use good lumber 
and plant the posts deep in the ground, say about 
four feet; it is not too deep, considering the stress 
the structure suffers from heavy winds. Brace the 
structure well, too. Use No. 2 shiplap boards, planed 
on one side only. Paint or lead the laps before 
placing. 

Sheet steel being much used, in place of boarding, 
we will give the best experiences of experts with this 
material. 

Get V-crimped painted roofing, in ten-foot lengths. 
Lay a sheet of this on a cement pavement, if con- 
venient, and tramp over it, flattening out the crimp. 
Then lay a piece of wood, two-by-four will do, on to 
the sheet and pound with a heavy hammer, to flatten 
the sheet more perfectly. This will give you a sheet 



THE EXPERT SIGN PAINTER 83 

26 inches wide by 10 feet long. Build the bulletin 
in two sections, with two or three sheets to a section, 
seams running up and down. Allow an inch of each 
sheet to extend out at one side to lap over the next 
section. For a ten-by-ten foot sign use a three-sheet 
and a two-sheet section. For a metal sign the paint- 
ed sheets are better than galvanized metal. You can 
do the painting in the shop, and when dry take them 
out to the job. Nail on the top sheet hrst, and lap 
the next sheet over this, so that the upper edge of 
the second sheet will catch rain and carry it back of 
the sign, not allowing it to go down over the front 
and staining same more or less. 

The sheets are to be run horizontally. For fasten- 
ing the irons on the frames use J^inch corrugated 
fasteners. Use either No. 4 or No. 5. The cor- 
rugated fasteners are very useful in this kind of work. 

Painting The Bulletin Board. — Whether metal 
or wood, the bulletin board must be well painted ; it 
will not pay you to do otherwise. Both sheet steel 
and boards should be well painted on both sides, to 
give due protection against the weather. Shellac all 
knots and sap in wood. Paint with pure lead in oil, 
and apply enough, in well spread coats, to form a 
good surface. 

New iron must be made clear of rust and dirt by 
scraping and brushing off. Then give it a coat of 
red lead mixed with raw linseed oil. On this may 
be applied as many coats of paint as may be desired 
or thought needful, the base of the paint being red 
or white lead. Let the first or priming coat dry 
hard, as it will when red lead is the base of the paint. 
New iron should be cleaned and primed as soon as 
possible after leaving the place where made. See 
that it is perfectly dry before painting, and paint in 
dry weather if it is possible. 



84 THE EXPERT SIGN PAINTER 

Old painted iron should be cleaned of old paint, 
and be well brushed with benzine or turpentine, after 
which it may be painted as directed for new iron, 
though it will not usually require as many coats. 

Zinc should be pruned with a hard paint, made 
from white or red lead, thinned with turpentine, add- 
ing a little varnish to bind it, also a little japan driers, 
unless the base is red lead, which is a drier itself. 
New rolled sheet zinc should be treated with a weak 
solution of hydrochloric acid or nitric acid, a table- 
spoonful to the gallon of water. It is also well to 
abrade the surface with No. 2 sandpaper before 
priming it. 

Galvanized iron may be treated the same as zinc, 
with acid. But the best preparatory wash is made 
from a solution of two ounces each of copper chlor- 
ide, copper nitrate, and sal ammoniac, in one gallon 
of water, in a porcelain or earthen vessel. Then add 
two ounces of muriatic acid. It is then ready to use. 
Apply with a broad bristle brush, and w^hen dry it 
may be pamted over. When first applied this wash 
is black, but soon changes to a grey. Diluted mu- 
riatic acid also is good, forming on the surface mu- 
riate of zinc, which will take and hold paint well. 

If galvanized iron has been exposed to the weather 
for several months it may take paint all right without 
the acid bath, but it is not sure. Paint to adhere 
well must not contain an excess of oil, but be made 
rather sharp with turpentine. Some painters advise 
a priming coat of red lead and good metallic brown, 
half-and-half, but red lead alone is good enough, 
though the metallic will lower the cost of the paint. 
Venetian red, as well as metallic brown, might be 
used to prime with, if cost is a matter to be consid- 
ered. At any rate, whichever paint be used, one 
coat is thought to be better than two on galvanized 



THE EXPERT SIGN PAINTER 85 

iron, particularly where red lead is used. But where 
a certain color finish is desired two coats at least 
must be applied. 

Lettering The Bulletin. — Bulletin s^"gns are done 
very much the same as wall signs, as far as style of 
letter and mechanical work goes. But white letters 
cut-in with black, or any color in fact, will be given 
a day to dry in, not being cut in immediately, as in 
wall work. The lettering and filling in colors are 
those ground in oil or japan, as may be called for, 
and the thinning is done with turpentine. The let- 
ters are fat or stout, as in wall signs. The ground 
may be almost any color, but white letters on a black 
or blue ground make about the most readable sign. 
A sign is greatly helped by having a suitable border 
around it, and this border should be made in the pro- 
portion best suited to the particular size of the sign; 
say a two-inch stripe for a io-by-20 foot board. 
Double lines, the inner one half the width of the 
outer one, look well. Make the border the same 
color as the letters. If two colors are used in the 
border, make the inner one the lighter color, if the 
background is dark; reverse this order if the back- 
ground is light. Never put two colors of tlie same 
depth of tone side by side. If there are curving 
lines, leaving some space, fill in with scroll work. 
For ordinary plain wonc use a simple scroll ; for more 
ornate lettering use a more elaborate scroll. 

For cheap work use a correspondingly cheap paint. 
Compound lead, which is simply a mixture contain- 
ing some white lead but more something else in the 
way of white pigment, may be u<=ed for making a 
cheap grounding, thinning with benzine. A cheap 
wash, suitable for some kinds of work, may be made 
by putting two handfuls of bluestone (iron sulphate) 
in two gallons of water until dissolved. Place the 



86 THE EXPERT SIGN PAINTER 

bluestone in a coarse bag, and suspend the bag in the 
vessel containing the water. Soft water is best. Mix 
dry color with this and apply as a paint. It is said 
that this paint will stand exposure well for several 
weeks. Of course, it is only for the very lowest 
grade work. 

Prices On Bulletin Sign Work. — There is no 
fixed standard of rates for doing bulletin work, some 
painters simply making a bid on the work that is 
based only upon what they believe they can do it for 
and have a profit, estimating the job by the square 
foot. Much depends upon circumstances also. In 
a general way we might say that that one-coat work 
and filling on brick or wood buildings of fair size 
ought to be worth five cents per square foot ; though 
much is being contracted for at a much less figure. 
Usually, however, contracts are made on the rental 
basis. One painter says that from $15 to $30 a year 
for a section 9-by-i2 feet would be a fair price, with 
an allowance of one-third off for renewals, where 
the original painting is to continue for another year. 
When a bulletin board is divided up into small sec- 
tions the total vield will be much more than where 
the entire board is sold to one party. Of course the 
painting of the small sections takes more time ac- 
cording to amount of space than what would be re- 
quired to do the whole board in one or few sections. 
Pictorial work not duplicated must be charged for at 
higher rates than plain work. Certain parts of the 
board will be worth more than certain other parts ; 
the top is more desirable a position than the bottom, 
from the advertiser's standpoint. Be sure to know 
exactly what work you are to do, and where it is to 
go, before concluding a contract. 

In a letter to the author, written in answer to an 
inquiry some time ago, Mr. G. G. O'Brien, perhaps 



THE EXPERT SIGN PAINTER 87 

the largest operator in advertising sign work in his 
city of Pittsburgh, Pa., says: "In every city that I 
can think of at this moment the price of a bulletin 
sign includes the rental in all cases. The prices vary 
from 25 cents a running foot to 40 cents a month for 
all ordinary locations, on a yearly contract, painted 
twice. Special locations will advance the price be- 
yond 40 cents, and on less than yearly contracts the 
price is proportionately higher. For this price the 
work is assumed to be strictly first-class in every re- 
spect. It must be noted here also that prices vary 
as to cities. The work may be and is as well done 
in one city as in another, but rentals may differ. For 
instance, at Cleveland, Buffalo, and at some other 
points, where territory is broad, rentals are lower, 
and hence bulletin prices are quite low. We charge 
more here in Pittsburgh than you do in Philadelphia, 
because territory here is quite limited, while it is not 
so in your city. Bulletin painting, like most other 
work, is a local proposition. Put up as good boards 
as you can get built, then paint them as good as you 
know how; price will likely be determined by the 
quality of your work. The location of the sign will 
of course have to be good. We have one sign in this 
city where the advertiser pays us $175 a month, but 
this is an expensive location. As a rule, advertisers 
will pay liberally for the work where the work and 
location both are good." 

Signs Ready Made. — Bulletin signs may be had 
ready made. They are shipped in sections ready for 
the posts. One manufacturer advertises the follow- 
ing rates for these three sizes : 

Size 6 to II Signs 12 or More 

4 X 6 ft. $3.00 each $2.75 each 

4x8 ft. 4.50 " 4.25 " 

8x 20 ft. 16.00 " 15.00 " 



88 THE EXPERT SIGN PAINTER 

It is advised that one not familiar with this kind 
of work send for catalogues issued by those who 
make such sign boards ready for use, if a large num- 
ber are to be used. At least, such catalogues con- 
tain much information that must be of value to any 
one interested in the work. 



THE EXPERT SIGN PAINTER 89 



CHAPTER XV. 

Various Commercial Sisrns. 



'&' 




AND-PAINTED POSTERS.— Build two 
frames large enough to carry paper four 
feet wide, and make the frames 30 feet 
long; join them at the bottom, separat- 
ing them one foot ; joint also at top, separating the 
frame 18 inches. Cover the frame with screen wire, 
stretched tight. Now hang a "sample"' poster on the 
screen, half on one side, half on the other side. Place 
electric lights inside the screen, which will light up the 
paper, making it easy to duplicate it indefinitely. This 
is done by covering the pattern poster with paper, upon 
which copy the original pattern. Hold the paper in po- 
sition by means of wooden paper clips. Do the letter- 
ing with printer's ink, thinned with gasoline or ben- 
zine ; or use japan color instead of ink. 

As a comparison of cost, an eight-sheet poster is 
6-J by 9 feet ; the poster itself, in large quantities, will 
cost the advertiser 30 to 40 cents each and will have to 
be replaced monthly; the charge of the billposter for 
displaying it in prominent places will be 72 to 96 cents, 
or more, sandwiched in together, and look shabby and 
ragged part of the time at least, while the hand-painted 
poster sign wnll stand alone and be clean and readable 
at all times. 

Roadside Signs. — Many roadside signs may be seen 
that are as much as 6 by 10 feet, with very bold and 
large lettering. Such signs run into money fast, and 
as they are furnished to merchants, or run in their in- 
terest, the advertiser expects a large trade from the 



90 THE EXPERT SIGN PAINTER 

party and a pledge that he will see to it that it is put in a 
good position and be maintained properly. He must 
agree to do this for at least two years. A 6 by lo foot 
sign, including the lettering, will cost approximately 
$7.50 in large quantities, the price being shaded a little 
when taken in larger quantities. A similar sign 4 by 6 
feet will cost about $2.00 ; while a 2 by 4 feet sign may 
be had for a dollar, or less. 

Half-Inch Board Signs. — These signs have been a 
familiar object to the public for many years, being thin 
boards 30 to 36 inches long, by 4, 5, or 6 inches wide. 
They are a little more expensive than parafifined signs, 
but are more rigid, and are useful for nailing on trees, 
posts, etc., along the roads, as well as on fence rails, or 
anywhere that a card may be placed. Such signs cost 
the buyer from eight to ten cents each, in quantities, 
with the tacking up extra. 

Paraffined Card Signs. — These signs are tacked 
up around the country in large quantities, and cost about 
three cents each, with two cents additional for the tack- 
ing. This cost is usually shared by the buyer and the 
merchant handling the goods. 

The Projecting Sign. — The projecting or flange 
sign is attached to door facings, being painted on both 
sides. It costs from 25 cents to 75 cents, and is gum- 
painted or lithographed. The cost will be according to 
the quantity ordered at one time, and the amount of 
printing on them. 

The wooden sign maker puts out what he calls a 
double-faced shank board, and also a larger size that is 
practically a metal sign. The wind batters down a 
large projecting sign, or bends it out of shape ; whereas 
a wooden sign twice the size will stand up well. A 
wooden projecting sign i by 3 feet costs from 50 to 60 
cents, in small lots ; this is for a double-faced ^i^'u. 



THE EXPERT SIGN PAINTER 91 

Drum Signs are useful in places where any other 
sig-n could scarcely be used at all, and they take up very 
little room on the side of a doorway. They are also 
readily seen and easily read by persons coming and 
going. Drum signs are made on glass and brass, and 
are litliographed or gum-printed on tin or steel. For a 
tin or steel drum sign with stained black pine frame and 
two-color letter the cost will be from 40 cents up. 

A ten-foot sign cannot of course be placed just any- 
where, and hence smaller signs are made to fit. A steel 
sheet sign on a wooden frame, i by 4 feet, useful under 
a window or over the door, may be bought for about 50 
cents each. 



92 THE EXPERT SIGN PAINTER 




CHAPTER XVI. 

Painting Signs on Tin. 

APANNED TIN SIGNS.— Japanned tin 
comes ready for use, and in colors as de- 
sired ; bu^ black is the most in use. The 
sheets come in various sizes, adapted for 
ordinary signs, and where any other size may be 
needed the tin may be cut with shears, being care- 
ful not to chip the enamel. The cost of japanned tin 
is comparatively high, but the prices charged for 
such signs amply repa}^ the outlay. It makes one of 
the neatest spcciol signs that the sign shop can put 
out, being particularly adapted for use as an office 
sign, or professional sign, for physicians, etc. The 
lettering is done either in gold or gold colored paint, 
and in either case the work must be accomplished 
with much skill and neatness. The lettering is done 
after this manner : First make the lay-out on manila 
paper, cutting the paper an inch larger than the tin, 
so that it may be turned down and under the tin, to 
secure it. The inscription is drawn on the paper 
with a lead pencil, as accurately as it is to appear on 
the sign. This is done with the paper folded over 
on the back of the sign, so that the size of the tin 
may be used as a guide in the lettering. 

When the inscription has been finished, the paper 
is taken up and dry ochre or whiting is rubbed on 
the side opposite to the inscription, and then this 
coated side is laid down on the japanned side of the 
tin, carefully, and the edges of the paper are folded 
down over the tin, to hold it fast. Now trace the 



THE EXPERT SIGN PAINTER 93 

inscription with a hard-pointed pencil, carefully, 
which operation will transfer the design to the ja- 
panned tin. Lift the paper now, and gently blow 
off the surplus whitmg or ochre. Now the tin may 
be sized and gilded, or be painted, according to the 
lettering desired. 

If the tin is to be gilded, then it will have to be 
prepared with a coating which will prevent the leaf 
from adhering where not desired, and for this pur- 
pose the white of an egg, with a little water in it, 
iDcaten well together, will do as a size. Then trace 
in your design. Then size the letters with fat oil size, 
and when of the right tack lay the leaf. The oil size 
must not be too heavy, or it will show a raised effect 
in the gilding; make it thin, and pencil in the letters 
carefully, for as the oil size is so will the letters be. 
When the gilding is done, rub off surplus leaf with 
raw cotton and set aside until next day; then the 
sign may be cleaned up for delivery. Gold may be 
imitated with paint of the proper color. 

The oil size used for gilding on japanned tin should 
have a little white lead in it, and be used quite thin. 
Gild day after sizing the job, for best results. Never 
use a size thr.t is quicker than four hours, if you are 
after the very best job in this line. 

Frosting Tin For Sign. — Make the tin free from 
dirt or grease, dirty spots and stains. Make up a 
solution of two parts of sulphuric acid to one part 
of rain water, preferably, though any soft water may 
be used. Now make the tin plate quife warm, 
though not so warm that the hand cannot be held 
on it comfortably, and while in this condition coat 
it over rapidly with some of the solution, using a 
sponge, tied to a stick. The liquid quickly evapor- 
ates from the tin, and then it may be rinsed in clear 
cold water. If it is to remain in the natural tin color 



94 THE EXPERT SIGN PAINTER 

it may be varnished over with some good clear copal 
varnish. Or if it is desired that the tin have color, 
use any clear transparent colored varnish. When 
dry it is ready for lettering. 

Gold Varnish For Sign. — Leave two pounds of 
finely powdered chrystals of copper acetate for a 
Icng time in a warm place. Rub the powder, as soon 
as it has changed to a pale brown, with turpentine, 
and mix it with six pounds of copal varnish at 70 
deg., C. Solutions will be complete in about fifteen 
minutes, and after standing a few days the varnish 
will be ready for use. Dry in artificial heat after ap- 
plying the varnish, for the exact color depends on 
the drying temperature. If the best copal varnish is 
used the gold effect will be very permanent, and wih 
adhere to the tin tenaciously. 

Glazed Tin Sign. — Varnish a sheet of bright tin 
with damar varnish, to which has been added a little 
good hard-drying floor varnish, just enough to hard- 
en but not discolor the damar. The brighter the tin 
the better the effect, which will be an imitation ol 
silver. Cut in the letters, and fill in the background 
with any desired color. This makes a cheap and 
durable advertising sign. 

White Letters On Tin. — Make the sheet of tin 
clean with sal-soda water, then dry it well. Then 
paint the tin with a good pure white lead paint, thin- 
ning white lead in oil with turpentine, adding a little 
good hard-oil. Give the tin two coats of this paint, 
brushing it out well, and maKmg a smooth surface. 
Sandpaper each coat lightly with fine paper. Cut in 
the letters with any desired color, and fill in with the 
same. The cutting-in color should be japan color, 
thinned with turpentine, and adding a little varnish 
tc bind it, and to prevent the color from cracking if 



THE EXPERT SIGN PAINTER 95 

exposed to the weather. When sufficiently dry the 
sign may be varnished. 

Always paint the back of the tin, to prevent rusting. 

Another effect may be had by making the back- 
ground some light color, then outlining the letters 
in black, and shading them. The outlining and shad- 
ing causes the letters to appear as if standing out 
from the tin. A scroll or two may also be added, 
before varnish is applied. 

For painting on tin a color mixed about the way 
the coach painter mixes his for second coat of lead 
will be right. In other words, add to the thinning 
about one-fourth raw oil. This will give the color 
sufficient life or elasticity to insure durability. A 
quick drying color will not do, as it will be too brittle, 
nor will it answer to use an oil paint, which will dry 
on top while the under portion will remain soft. 
There are no pores in tin for the paint to enter or 
hold by. In time the under part will dry, but that 
will mean trouble for the lettering color. Gold leaf 
is sure to crack over an oil paint foundation. The 
best thing to advise, under the circumstances, is a 
paint thinned with both oil and turpentine, say one- 
fourth oil to three-fourths turpentine, for the first 
coat, which will give a paint neither soft nor brittle. 
For the second coat reduce the quantity of oil 
enough to give an egg shell gloss to the paint. Then 
you will have a safe ground to letter on, on tin. 



96 THE EXPERT SIGN PAINTER 



CHAPTER XVII. 

Lettering on Muslin, Oil Cloth and Canvas. 

)^==^1^ETTERING ON READY SIZED MUS- 




convenient than the shop prepared goods. The col- 
ors used for lettering on this muslin are ground in 
japan and thinned with benzine, to prevent spread- 
ing. Add a little varnish to bind the color. 

Lettering On Unsized Muslin. — Unsized muslin 
may be lettered on if made wet and lettered while ins 
this condition ; the dampness prevents the paint from 
spreading, and this is an old-time way of doing the 
work. A good color for painting on damp muslin 
may be prepared in this way: Take three parts of 
damar varnish and two parts of benzine, shake well 
together, and add to any desired dry color, forming 
a paste, which may be worked on the slab until 
smooth, after which it may be thinned with the same 
liquid and is then ready for the lettering. 

Mixing The Lettering Color. — The instant your 
brush, with its color, touches the muslin you will 
know whether the color is right or not, whether too 
thick or too thin. That is, if you are expert. Dif- 
ferent pigments require different thinning medi- 
ums; some require gold size, some turpentine, others 
benzine, or varnish, in certain quantity. Varnish is 
used where a slower drying medium is required than 
gold size affords. Too much turpentine will cause a 
halo around the letters about as bad as oil. Use just 



THE EXPERT SIGN PAINTER 97 

enough to make the color work freely, and use ben- 
zine in preference whenever possible. 

Colors For Muslin Signs. — Bright colors make the 
most striking signs on muslin, though probably the 
majority of muslin signs are done with black alone. 
Bright blue and bright red are favorite colors. Cheap 
ultramarine blue will do well enough, but the red had 
better be of good quality. The imitation vermilions 
are very fugitive. Cheap reds will run all over a sign 
in the first rain. English vermilion is costly, but is 
more permanent. You can mix with it twice its bulk 
of whiting, first grinding the whiting in turpentine 
on a slab. Use the best grade of whiting only. First 
mix the red with gold size, then add and mix the 
whiting with it. This will not materially affect the 
red color, while greatly reducing the cost of the 
paint. 

The colors appearing best are black, Prussian or 
ultramarine blue, and English vermilion. Where the 
initial letter is done in red, using a fugitive color, the 
result may be something like this, taken from an 
English journal : 

HIS REEHOLD UILDING AND 

O E ET N ASY ERMS 

PON ONG UILDING EASES 

PPLY STATE FFICES. 

The Letters and Shading. — Gothic, or block, let- 
ters look best on muslin signs, and they are easy to 
make. If the letters are to be shaded, give each one 
ample space, so that there will be no crowding. Shad- 
ing is seldom required. 

Muslin Sign Dry In One Hour. — Use no oil in the 
lettering color, if quick drying is desired. Use dry 
colors of the best quality. Grind the color in japan 
or furniture varnish to a paste; thin with gasoline 



08 THE EXPERT SIGN PAINTER 

until it will work freely under the brush and not 
sf>read over the muslin. If made too thin it will run, 
making unsightly work. Such a sign will last thirty 
days exposed to the weather. By adding a little 
boiled oil to the color the job will be more durable, 
and may last three months. But for a temporary job 
omit the oil. 

A very good paint may be made from vegetable 
black one part to two parts of gold size, three parts 
of turpentine, and less than one part of boiled oil. 
Another liquid, suitable for certain other pigments, 
may be made from boiled oil two parts, gold size two 
parts, turpentine five parts, and color one part. 

Combining Colors to Advantage. — Dark blues, 
greens, reds and browns give strong effects in muslin 
lettering, and canary yellow, lemon yellow, and very 
light shades of blue, green, and gray make the best 
shading. For the high lights use white, chrome 
yellow, and golden ochre, etc. 

Designing The Sign. — Do not run too many 
straight lines of lettering, but break up the monotony 
by a curved line here and there, if possible. Bring 
out the principal words in large, bold letters, on 
straight and curved lines, with a scroll or two by way 
of embellishment, surroundmg these with light 
shades of color. 

The Brushes Used. — For japan color use a sign 
painter's brush ; for large letters use an artist's fitch 
brush. Large letters may be outlined with the small- 
er brush, filling in with a larger brush. Fihing in is 
very good practice for the learner, by the way. Very 
h.rge letters may be done with a bristle brush. 

Speed in Lettering. — Speed comes with practice, 
though some are naturally quicker than others. The 
finer the color has been ground, with correct thin- 
ning, tlie better it will flow from the bru^^h and 



THE EXPERT SIGN PAINTER 99 

spread. Japan color thinned with benzine to the 
right consistency flows and spreads well. In muslin 
sign work it is necessary to become quick in order 
to make it pay and get out orders in a hurry, for 
very often that is the order. 

Water Color Work. — The surface must be well 
sized for water color lettering, and it is best to apply 
two good coats of glue size. Or one coat of starch 
paste will do. 

Here is a liquid that may be used for water color 
work on muslin or canvas, for outside use, that will 
work freely and stand exposure to the weather quite 
satisfactorily : In a clean vessel boil a quart of clean 
water; add four ounces of» shredded beeswax to it, 
and let boil until dissolved. In another vessel have 
a pint of boiling water, and add to it an ounce of 
white soap; let it become dissolved, then add it to 
the beeswax mixture. Put it on the fire and allow 
i, to boil for a few minutes. Now prepare a mixture 
of two ounces of white glue or gelatine in a pint of 
hot water, and add to the wax solution. Mix. It is 
now ready for the water color, which may be that 
ground in water without size. Its waterproof quali- 
ties may be increased by the addition of ten drops 
of bichromate of potash to the pint of mixture. In 
case you wish a white paint, use only white wax and 
white soap. 

Transparency Painting. — The muslin used for 
this kind of work must be of fine texture and of the 
best quality. Stretch it on a frame, size it with white 
gelatine size, and after the size is dry re-stretch on 
frame and give it another coat of the size. Perhaps 
it is a better way to place the muslin in the size and 
wTing it out, then place it on the frame; this is the 
method followed by many. Try the size on a bit of 
muslin first, to see if it is right, and also try the colors 



100 THE EXPERT SIGN PAINTER 

on it. The colors used in landscape painting may 
be used for this work. 

The design having been prepared, it may then be 
traced, pounced, or copied on to the muslin, but be 
sure that the outlines from which the copying is done 
are bold and strong. Stencils ma}^ be made from the 
usual stencil paper, in the ordinary way, and pow- 
dered charcoal is best for the pounce. 

The rules which apply to oil painting answer also 
for this kind of work, only that all broad lines may 
be rubbed in with a small sponge, instead of a brush, 
where a very light tint is desired, as the color can 
thus be rubbed out finer than a brush will do it. This 
applies only to the ])road flat tints, particularly to 
those very delicate. 

A very fine effect may be obtained by the use of 
one transparency behind the other. On the front 
surface is painted all that is required to be seen in 
the clearest relief; the painting on the other trans- 
parency is modified in its effect by the painting in 
front. 

Use the transparent pigments for this work, and 
they must be of the l^est grade, or such as artists use. 
Thin with turpentine and a little copal varnish as 
binder. 

To stand exposure to the weather, coat with a wax 
size, made by melting some white bees wax on the 
stove and thinning it with turpentine ; make it very 
thin, say one ounce of wax to a quart of turpentine. 
Apply this wax size while it is still quite warm, using 
a bristle brush. 

For white work in general a size may be made as 
follows : Slake a small lump of fresh stone lime in 
hot water, and then add skim milk until quite thin; 
strain through cheese cloth. This makes it quite 
water-proof. Color as desired. 



THE EXPERT SIGN PAINTER 101 

SoAPSTONE In The Muslin Size. — The use of stea- 
tite in the size for musHn, as well as for canvas, duck 
or cheese-cloth, has been urged by a correspondent, 
who says : I make a stiff paste from good flour, then 
thin it so that it will work well under the brush, using 
a stiff" wall brush ranging in size from two to six 
inches, according to the work in hand, and then I 
add soapstone (steatite) in quantity sufficient for the 
quality of goods that is to be sized. Cheese cloth 
requires the most and heavy duck the least. For 
ordinary unbleached muslin add at the rate of a table- 
spoonful of soapstone to the pint of paste. A very 
smooth surface may be had by applying this paste 
wath a paddle made from a cigar box lid, rounding off 
its edges, so that it will not make edges lines on the 
surface. Thin down quite sharp, and give it a coat 
of shellac. 

Paste for this purpose ma}^ be made stiffer than 
for brush use. Make the paste free from all lumps 
before adding the soapstone. 

Lettering On Canvas. — Before painting on canvas 
it must be stretched on a frame or smooth wall, 
stretching it tight, until the material is even and per- 
fectly smooth. A rough wooden or brick wall will 
not do, as the rough parts will render smooth letter- 
ing impossible. 

Sizing And Painting. — Size with good strong glue 
size, and give it two good coats, the first drying be- 
fore adding the second coat. The size must be ap- 
plied hot. AVhen the size is drv rub off the nibs with 
sandpaper. If the canvas is to be painted all over, 
make the paint with the best white lead, thinned with 
two-thirds raw oil, and one-sixth each of turpentine 
and japan driers. Let this coat stand at least two 
days, then apply a coat of white lead thinned with 
three-eighths of raw oil, one-fourth of japan, and 



102 THE EXPERT SIGN PAINTER 

three-eighths of turpentine. Let this coat stand two 
days. Then apply a coat of white color-and-varnish. 
When this has become dry, rub smooth with pumice 
stone and water. Then it is ready for the lettering. 
This is for a strictly first-class job. 

A cheaper job may be done as follows: Sponge 
the canvas with water, and when almost dry apply 
a coat of lead and oil paint, making it as near what 
the last coat is to be as you can. For the second 
coat use less oil. Mix the lettering color with enough 
oil to make it elastic. 

Preparing Muslin for Rolling Up After Paint- 
ing. — The following formula is given by the late Eng- 
lish chemist, Standage : Dissolve one ounce of soft 
soap in thirty fluid ounces of water by boiling; then 
stir in one quart of boiled oil, and when cool stir in 
five ounces of gold size. 

Here is another way : Dissolve white wax in tur- 
pentine by the cold process, which will require about 
three days. The mass must have the consistency of 
soft soap. Now add three-fourths of a pound of this 
to two pounds of zinc white, ground in oil, and two 
tablespoonfuls of soft soap. This thick mass, to 
which is added a trifle of japan, is applied to the ma- 
terial so that all pores are full while all surplus stuff 
is removed by a spatula. When the coating is dry 
thin the mass to a brushing consistency with equal 
parts of boiled oil and turpentine. Give it one full 
coat. But if this does not cover the canvas com- 
pletely, apply a second coat. The further manipula- 
tion is carried on as in other sign work where oil 
colors are used. 

Halo Around Letters. — The effect of using oil 
colors on canvas is the same as on muslin, leaving 
greasy edges around the letters, and making the 
work very unsightly. Prevention is indicated by the 



THE EXPERT SIGN PAINTER 103 

use of benzine for thinning with. If the halo is there, 
however, then proceed to remove same as follows: 
Outline the letters with a medium rjelatin size, ex- 
tending- a trifle beyond the stains. When the size 
is dry, go over it with the same color that was used 
on the letters, keeping a trifle back from the outer 
edges of the size. This will cover up the grease 
marks, and the color will not spread. 

Water Color Work. — For a medium which can be 
used Avith water colors, will work freely, and will 
stand a fair amount of exposure to the weather, the 
following is recommended : To a quart of water heat- 
ed to the boiling point in a clean vessel, add a quarter 
of a pound of shredded beeswax, and boil until the 
wax is liquified. In the meantime have ready a sec- 
ond vessel, and in it dissolve cue ounce of white soap 
to a pint of water, dissolve thoroughly, and add to 
the beesawx and water. Allow this to boil for a few 
mJnutes longer. The result will be a milky emulsion. 
Next make up a glue size by dissolving two ounces 
of white glue or gelatine in a pint of water and add 
to the emulsion. The medium is then ready for the 
addition of the water color, which should previously 
be ground in water without size to a free flowing con- 
sistency. The mixture can be rendered still more 
waterproof if immediately before using ten drops of 
bichromate of potash are added to every pint of the 
m.edium. In making up a white for use it will be 
necessary to use white beeswax and white soap in 
preparing the medium. 

Lettering On Oil Cloth. — Color is apt to creep 
on oil cloth, owing to the smooth, glossv surface it 
has, and to prevent this wipe the cloth with a sponge 
m.ade damn with vinegar, and sometmies even plain 
v:ater will do the trick. Whiting and water are used 
by some, and b^ndne may be considered a sure cure, 



104 THE EXPERT SIGN PAINTER 

besides drying immediately. Benzine is useful also 
on all painted and varnished surfaces where paint or 
varnish crawls. 

There is a painted cloth on which lettering color will 
not creep. This painted cloth is preferred now to the 
ordinary oil cloth. 

To letter on enamelled drill or oil cloth, mix your 
color with equal parts of raw oil and japan gold size, 
thinning with turpentine. 

Carriage trimmers' pebbled cloth, which may be 
had in several different colors, offers good material 
for making a swell sign. One particularly good ef- 
fect may be obtained by coating the surface with 
japan black, thinned with turpentine to make a dead 
black finish ; letter on this with either gold or silver 
bronze, adding shades and scrolls in clear varnish. 



THE EXPERT SIGN PAINTER 105 




CHAPTER XVIII. 

Silk and Satin Banner Painting. 

HERE are two manners of working which 
are generally used in painting upon fab- 
rics ; one consists in binding the color 
with gum, the other in using oil for the 
same purpose. In the first way, Arabic gum is melted 
in warm water and then added to^ the pigments in a suf- 
ficient quantity to bind them. Size is too coarse a mate- 
rial, and glue is too dark in color for fine work. For 
this process flake white is used to give body to the paint- 
ing, for it has to be solid painting for a fabric when 
used as a banner or panel. Again, the texture of the 
fabric must not grin through the painting. In the sec- 
ond manner, oil is used in the place of the gum, and 
white lead forms the body, no turps or varnish being 
used — they both tend to make the painting brittle. The 
work painted with oil-color has a shining eflfect; the 
gum-color is without. Even with all the shining effect 
of oil-color, in both these methods the work shows less 
brilliant and bright in color than the fabric itself. The 
painting, too, is of a different texture than the material 
itself. 

Method For Large Silk Banners. — The first 
thing to be done is to make or procure a stout wooden 
frame about 2 inches or 2^ inches in stoutness. The 
corners must be framed up in the same way as those 
are for stretching canvas, with wedges ; in this case 
without a cross-bar. The whole field of the silk needs 
to be come-at-able. Along each edge of the silk it is 
necessary to sew a narrow band of material. About i-| 



106 THE EXPERT SIGN PAINTER 

inches or 2 inches is wide enough. This is to drive 
the tacks into, when attaching the silk to the frame. 
It must be of a material much stronger than the fabric 
which is to be stretched, in order to hold it. When 
fastening the material to the frame, the general habit is 
to lay it upon the floor to do so, having first laid a clean 
drop cloth down, so that no dirt can possibly stain the 
delicate fabric. The stretching is begun in the center 
of the four sides of the frame, and finally finished at the 
corners. The fabric is drawn up as tight as possible, 
with the tacks about half an inch apart. The frame 
may then be raised upright, and either reared against 
the wall or supported by poles, long enough to reach the 
ceiling. These must be pulled tight, so as to grip both 
ends of the banner. This is necessary to be done, even 
when the banners are placed against the wall, in order 
to steady them. These props also enable the banner to 
be tilted over a little at the top, to protect the fabric 
from any chance drops. The silk may now be further 
tightened by gently tapping the wedges at the corners. 
The Pouncing. — The design for the whole banner 
having been closely pricked, it may be pounced with 
powdered whiting, to which has been added a little 
pumice-stone dust, in order to cause the pouncing to be 
easily brushed away; or French chalk may be used. 
Care should be taken not to get the pouncing to be too 
strong, as the after-sizing is liable to fix it, and so inter- 
fere with the painted work. The pouncing is gener- 
ally done in separate parts, as a pounce the size of the 
whole banner is too big to manage. The center has 
only the outline pricked, as generally the picture in the 
center contains a great variety of objects, and is so pic- 
torially painted that pouncing is impossible. So it 
needs must be sketched in with charcoal, and partly 
drawn with the brush. 



THE EXPERT SIGN PAINTER 107 

The Painting. — In painting a banner in oil-colors, 
no turps is used. It takes the shine out of the painted 
work. Turps also causes the part to which the paint is 
applied to become brittle. Absolutely nothing but oil 
should be used. The utmost caution needs to be taken, 
as oil on unprotected silk spreads, such as a drop from 
the brushes, which looks like a dark blot, and cannot by 
any known means be renioved without showing where 
it has been. When such a misfortune happens, as it 
sometimes does, during the progress of painting a ban- 
ner, it must be dealt with. If possible, the ornament on 
the flag should be stretched so as to cover the blot by 
bringing it into the scheme of the design, as a piece of 
added ornament. If this is not possible, after sizing all 
round it (everywhere there is any ornament must be 
first sized), a fly or butterfly must be painted. As an 
illustration of how oil spreads on silk, it has been 
known for a portion of oil to get over the protective siz- 
ing and then to creep right across the whole banner, 
completely spoiling it (an expensive matter where silk 
is concerned). It shows a dark line, which destroyed 
the whole effect. Nothing could be done to remedy it. 
To protect the silk from the oil, the outline of all paint- 
ed work must be well sized before the paint ivS applied, 
the outline to be only about J inch beyond where the 
paint is to go. The reason of sizing the outline only 
where practicable, is because sizing causes stiffness in 
the silk. For this, parchment size is applied hot and 
strong. It is best to use it from a clean gluepot. The 
first coat may be a little dilute, so as to work easily, but 
the second must be as strong as it can be worked. 

The larger space in the center, to contain the princi- 
pal pictures, after being well sized along the outer edge, 
is always given a coat of oil white lead (no turps). 
It should be us^d in a thin condition, and be well rubbed 



108 THE EXPERT SIGN PAINTER 

out. White lead is used, not zinc white, as, although 
it is a purer white, it is too brittle in its nature for ban- 
ners which have to be roiled up, and thus are liable to 
crack. Tutil used to give the centers of the banners, 
previous to the application of the paint, a coat of rubber 
solution, in an attempt to get greater elasticity and to 
cause the paint to bear out with a better gloss. 

The Orxamext. — The decoraion on a bannei" is 
generally seen only when on the move, so it should be 
large in contour and bold and simple in the painting. 
As the light whilst it is being carried strikes through 
the silk and not through the painting, the ornament 
needs to be the same shape on both sides of the banner, 
each side exactly fitting the other side. It may, how- 
ever, be differently treated in detail and cutting up. 
As it is also necessary that the ornament should be as 
brilliant as possible, it is generally first silvered. To 
save labor, the filling-up and the gold sizing is done in 
one coat. A goldsize is used composed of pure fat oil 
and white lead, nothing else, so it is bodily laid in on 
both sides of the frames, and silvered when ready, 
which is in about twelve hours. It is immediately clear- 
sized with weak parchment size. When this is dry it is 
ready to be cut up with dilute Vandyke brown. This 
again allowed to dry, the shading is done with gradu- 
ated washes of raw umber. x\gain left to dry, the re- 
flected lights are washed in with raw umber. Of 
course, other colors may be used, according to the taste 
and skill of the operator, or to agree and harmonize 
with the v.'hole color of the banner, which is generally a 
strong red or blue. The whole forms a very capable 
process in skilled hands. The writing is mostly done 
by drop black in plain letter. 

Stexcil, Pouxce axd Size For Silk Baxner. — 
The practice adopted for painting upon silk is to first 



THE EXPERT SIGN PAINTER 109 

draw the design full size upon paper. This drawing 
may then be used to pounce or for tracing the design 
on the silk. If the former, prick a series of dots com- 
pletely round all outlines, and with white powder (pre- 
ferably French Chalk j tied up in muslin, pounce the 
powder through the holes of the design. To trace the 
design rub the back of the paper with chalk or Indian 
red (according to whether the ground is light or dark) 
place against the silk and go over all outlines with a 
lead pencil or other blunt point. Before commencing 
painting fill in all parts to be covered with paint (i) 
thin clear size, (2) distemper made with size and 
Chinese white with a little glycerine added to prevent 
cracking, or (3) a coat of flatting color made of white 
lead, varnish and turps. This preparatory- coating 
should be taken to the extreme edge of the design. It 
is intended to prevent the oil colors spreading. Size 
m.inimises the destructive action of oil paint upon fab- 
rics. Coarser materials should also be treated with 
size preparation as described above. 

Size For Baxxer Work. — A gelatine size may be 
made as follows : Add two ounces of pure gelatine to 
one pint of hot water, strain, and apply while hot. 
Some size the material all over, but this perhaps is not 
the best way. When the size is dry apply a coat of 
white paint to the sized parts, leaving about i- 16 of an 
inch of the sized parts unpainted. When the white 
paint is dry it will be ready for the lettering, picture, or 
gilding. Some prefer coach japan, thinned with tur- 
pentine, for a size. Egg size, preferred by others, and 
adapted for certain kinds of work and material, may 
be made by adding to the white of an Qgg its own bulk 
of water, mixed well together. On this you may apply 
either oil size or gild on the wet egg size. Of course 
it must be dry before applying oil size. If oil size is 



110 THE EXPERT SIGN PAINTER 

used it must be kept back from the unsized material a 
little ways. 

To use Russian isinglass size, first stretch the mate- 
rial over the frame, then apply alum water all over it, 
and when dry apply a size of Russian isinglass dis- 
solved in boiling water, using a piece the size of a silver 
fifty-cent piece to the quart of water. When this is dry 
draw or stencil your design on the material, then paint 
in with either water or oil colors. If you sketch in the 
design use French charcoal crayon. 

Another Method For Banner Work. — Stretch 
your material on the frame, then pounce in the pattern, 
then cut in the letters or what not with shellac varnish, 
or with japan, which will not spread on the material. 
Make the edge perfectly true. For gilding, apply oil 
size over the shellac or japan ground, being careful not 
to allow the size to go beyond the sized parts, which 
would stain the silk or satin. Apply the leaf in the 
usual manner, and smooth it out with raw cotton, using 
the medicated or jeweler's cotton. If the lettering or 
design is to be shaded, do the shading first, in the 
proper place. If to be high-lighted, apply same to 
parts opposite to shading. 

Handy Chalk Line For Banner Work. — A 
handy chalk line for banner work may be made by 
fastening a medium-sized fish hook to the end of a 
chalk line, filing off the barb. The hook may be readily 
inserted and removed, and renders it quite easy for one 
man to do the chalking and snapping of the line. 



THE EXPERT SIGN PAINTER HI 




CHAPTER XIX. 

Painting the Barber's Pole. 

I HE sign painter is called upon occasionally to 
re-paint a barber pole, or even to paint a 
new one, which may be more difficult than 
re-painting an old one. to a novice. In the 
old pole we may find sufficient guide in the lines of the 
former painting to make the job quite easy. 

It is necessary to have the edges of the stripes neatly 
cut in, whatever the nature or number of the colors. 
This cannot be accomplished if one wet wedge is run 
against the other. The painting of the stripes must be 
done according to the shape of the pole ; if square, like a 
porch post, for instance, then the best way is to provide 
a thin board of the width the stripes are to be, and 
holding it on to a face of the pole, at an angle of 45 
degrees, mark along its edges with a lead pencil, and 
see that the corners meet each other on the adjoining 
side. Take the line across the champers horizontally. 
Say the pole was painted solid white, then cut in with 
red ,or with both red and blue, if the two colors are de- 
sired. In this way you have no wet edges to paint 
against. 

For a round pole, paint it white, then when dry and 
hard prepare strips of manilla paper of proper weight, 
making them the width you want the stripes to be, and 
wrap them regularly around the pole, beginning at the 
top and fastening them with tacks at the bottom. If 
red and blue are to be run, have two papers around the 
pole, which will leave white in between each color. 
Care must be taken to equalize the space so that the 



112 THE EXPERT SIGN PAINTER 

colors will alternate evenly. It is seldom that more 
than red and white are run on the pole. 

The purpose of the paper wrapped tightly around the 
pole is to keep the paint from getting on to the white, 
and to make good, clean-cut edges. Also, it facilitates 
the work. 

Some run a pencil along the edges of the paper, and 
then remove the paper, painting in the stripes with a 
sash tool. When the paper is left on you may run the 
stripes with a painter's pound or No. 8 brush. 

Barber's poles are now made in a factory, in many 
styles, and all ready to set up. These range in thick- 
ness from 6 to 12 inches, measured at the base. The 
cost varies according to style and finish, prices begin- 
ning at about $8.oo, and running up to $27.50. There 
are also made the index hand, of wood and nicely 
painted, at 75 cents. Then there are made for the bar- 
ber shop signs done with enameled ware, small signs 
used for indicating the bath, as well as for use inside 
and outside the shop, over doors, and so on. 

Some of these signs or poles are works of art, indeed, 
being of artistic form and painted and gilded in the best 
possible manner. Red, white and blue are the colors 
used, though these are not the only ones, as in addition 
to gold there are other colors, and often the base will be 
marbled. Some will show white stars on a blue ground, 
usually being at the top of the pole and under the ball, 
which is gilded. Poles of irregular form are painted 
quite ornately, in various designs, which usually are 
simple and chaste. In all, the factory-made barber 
shop pole is a work of art worthy of adorning and indi- 
cating the place of business of so important a man and 
workman as our barber; tonsorial artist is the modern 
term, by the way. 

The barber pole has a history that is far from being 



THE EXPERT SIGN PAINTER 113 

uninteresting". Many years ago it was thought that all 
ills afflicting human flesh might be relieved by the let- 
ting of the victim's blood. Plebotomy, it was called. 
General Washington, in his last illness, was relieved of 
some blood by the doctors, and many another patient 
less illustrious has undergone the singular process. In 
those days the barber became a blood-letter, and in fact 
he has never relinquished the job. The barber provid- 
ed a pole that his victim was asked to grasp tightly, so 
as to. steady his nerves, and when not in use the pole 
was placed outside the door, with the white and oft 
blood-stained muslin ligatures wrapped around it. The 
law required this. From this circumstance arose the 
use of the striped pole, with its red stripes, symbolizing 
blood, the white stripes indicating the muslin ligatures 
or bandages, and the blue serving to express the feel- 
ings of the victim. The pole was surmounted with a 
fixture that represented a basin, used for catching the 
blood in. Thus, essentially, is the barber pole of to- 
day. But there are not so many poles in evidence now, 
the tendency being to have less display of the kind 
around the outside of the shop, especially first-class 
shops. 



114 THE EXPERT SIGN PAINTER 




CHAPTER XX. 

Smalts and Smalting. 

EFORE cutting around the gold letters 
breathe on the glass at the edges, and the 
paint will not creep. 

The permanency of smalts is a most im- 
portant factor in the life of the sign, and good boiled oil 
is necessary to this. 

If sifting will not clean the smalts, then let it fall 
from a height, say a step ladder, on to the sign; the 
sand will get there ahead of the dirt or dust, and make a 
clean job. 

One cause of trouble comes from not having the 
cutting in and filling color ready when wanted; better 
have everything ready. 

If you run out of cutting-in color, there is a delay 
while preparing new color, and in the interim the color 
on the sign may become partially dry, and this will 
cause greasiness, or streaks, to show. 

Too much driers in the cutting-in color is bad, as it 
may, and often does, cause streaks or "shiners." Use 
boiled oil and no driers. 

If you have a blue smalts job to do, do not use blue 
paint for the ground. Use lampblack mixed with 
boiled oil, and add enough white lead to make it a 
slate color or dark gray. 

Never use raw oil on a smalts job, as it will creep 
on the edges of the letters, leaving rag,?ed edges. 

Thin the cutting-in color with a mixture of two- 
thirds boiled oil and one-third turpentine; make your 
color thin enough to flow well without running. 



THE EXPERT SIGN PAINTER 115 

Cut in the letters as rapidly as you can do it ac- 
curately. 

If you mix the ground color with raw oil it will dry 
too flat to take the sand properly. Boiled oil and 
plenty of lead in the black is the rule of safety. 

Cut in the sign with a small brush or pencil, accord- 
ing to the size, and fill in with a larger brush ,soft hair. 
Bristles will put the paint on too thin and not smooth. 

Do not have the boy do the fiUing-in; it is a man's 
job. Care must be taken with this work in order to get 
a perfectly even and smooth surface for the sand ; what 
the painted surface is, that will be the sanded surface ; 
lough, or fine as velvet. 

A made-while-you-wait sign may be made as follows : 
Shellac the unpainted board, and when dry, in a few 
minutes, pounce in the letters. Roughly quick-size 
the letters, gild, and cut in, then throw on the sand. 
Send out next day. 

The temperature of shop is important in smalts work. 
If too hot then the paint will dry too quick. Get as far 
from the stove in winter as possible. In summer hunt 
the cool part of the shop. 

There should be an abundance of light for smalting 
work. 

If there is quite, a lot of lettering to do, outline the 
same rapidly, and accurately of course. By the time 
the last touch of the brush goes on the first will have set 
pretty well. 

If painted within two hours, let the job stand twenty 
minutes or so longer, then sift on the sand. Let the 
sand on a few seconds only before dumping. 

Use neither japan, driers or turpentine, but boiled 
oil only. 

Never sift sand on fresh color; that is why we advise 
letting the job stand twenty to thirty minutes. When 



116 THE EXPERT SIGN PAINTER 

set a little it will take the sand better than when the 
paint is fresh. 

Begin sifting- on the sand at one end, sifting regu- 
larly and with care, to get it on evenly. 

The rule is to apply sand until the gilding is almost 
entirely or even quite concealed by the sand. 

If the sand is quite fine it may be dumped off almost 
immediately after being sifted on. But if coarse, 
which it never should be, but is sometimes, especially 
after having been re-used many times, the sand may 
be left on for an hour at least. 

Where very fine sand has been sifted on it is well to 
give it another sifting on, to catch possible places where 
it did not catch the first time. This is not often re- 
quired. 

Be sure to clean off any chalk that may be on the 
board from the lay-out. It is better to follow the chalk 
hue with a lead pencil, and then brush off the chalk 
clean. 

A charcoal crayon is better than chalk for laying out 
the lettering, as the oil paint when coming against char- 
coal will not cause a ragged edge to the lettering as 
chalk will. But charcoal must not be used on any 
ground that is not flat painted. 

Here is a formula recommended by an expert : Mix 
dry lampblack with boiled oil on a marble or glass slab, 
with a spatula, until the mass is free from lumps, or un- 
til perfectly butter-fine. Then add enough white lead, 
dry, until the mass is of a lead or dark gray color; this 
will do for any dark smalts. The lead gives body. 
Thin to the proper consistency for use with equal parts 
of boiled oil and japan for a small jobs, but omit the 
japan for a large J0I3, for it will cause the paint to dry 
too fast. 



THE EXPERT SIGN PAINTER 117 

For light colored smalts use white lead paint as a 
base. Tint to any desired color. 

Paint used for cutting-m with should be rather stout, 
being thinned with boiled oil. 

Some recommend boiled oil and a quick-drying var- 
nish in equal parts as a thinner, but we see no advant- 
age over boiled oil. 

One painter advises leaving the smalt on for two 
hours before shaking it off, saying that there will then 
be no trouble from ragged edges and smalt sticking 
where not wanted. The idea probably being that if not 
dumped off while wet the paint on the loose sand cannot 
get on to the letters and stick there. 

If you have a very large sign to gild and sand, do not 
try to slow up your color with raw oil, but cut-in one- 
half of the sign and then sand within a foot of the end 
of the painted part, being careful to not get any sand 
on the last part, for that would cause sand to get into 
your pencil. Then cut in the balance of the sign, and 
sand it. Let the sand remain long enough to set, and 
(lump the entire lot off. Then collect the sand and sift 
it over the job again; lift one side, then the other, to 
disturb the sand, then finally throw it off and place the 
sign on the easel. If you have used the very best 
smalts 3^ou will find the surface as fine as velvet. 

When black paint is used without any white lead in 
it it will run in streaks and leave ragged edges on the 
tops of the edges of the letters, which may come down 
on to the gold, no matter how careful you may have 
cut in the letters. 



118 THE EXPERT SIGN PAINTER 




CHAPTER XXI. 

Practical Sign Painting Notes. 

OR quick work use japan color as it comes 
from the can, thin with turpentine, but use 
no oil in it. 

A pallette is not always necessary, but 
for most work on the easel time is saved by its use. 

Make clean sweeps with the pencil, as close to the line 
as possible, and so make every stroke count. 

Dark japan driers are not the best with lettering 
colors; use the very light colored japans, and as little 
as will do the work. 

A pane of double-thick window glass makes a very 
good slab for working color on. The slab may be laid 
in a bed of putty spread over a board a little larger than 
the glass ; let it dry there. 

Styles in letters constantly change, but the old stand- 
bys, the plain Romans or Gothics, please the business 
public very well. 

A good plan for the beginner who essays a glass 
sign is to apply whiting wash to the outside of the 
glass, and when dry mark out the letters with a pointed 
stick. After the lettering is done on the inside, wash 
off the whiting. 

The old way was to tie a piece of chamois skin to 
the tip of the rest or mahl-stick, but a piece of cork or 
rubber is as good. 

To make glass take the chalk, the glass must be made 
perfectly clean with whiting and water, first, then with 



THE EXPERT SIGN PAINTER 119 

ammonia water, then wash off with clear water and 
chamois, wipe dry, and pohsh with tissue paper. 

When you have a small sign to get out in a hurry, in 
cold weather, heat the sign before painting it, and heit 
it well, only avoiding blistering the paint, and after let- 
tering it heat again, for a few minutes, then place it in a 
cold place to dry. 

Too much japan will retard the drying of paint, and 
it is best always to use as little as possible, even of the 
best, and the best should always be used, no matter 
what it may cost. 

Never do a brick wall sign in cold or wet weather, if 
it can be avoided. Dampness will cause the paint to 
perish. 

Some sign painters use a short handle to the lettering 
pencil, but you will notice that their work is not true, 
but wobbly. A long handle steadies the hand better. 

For shaping letters, designs, etc., u^e one-third yel- 
low chrome, in japan, one-third rubbing varnish, and 
one-third spar varnish, the best grade of each. 

Sometimes a store closes out and w^ants a sign made 
on the windows to advertise the fact. Coat the glass 
with whiting wash, bound with a little glue, then letter 
on this as you would do on muslin, using japan color 
thinned with benzine. 

When you letter or decorate a store window have a 
boy on the outside, on a step-ladder, holding up a piece 
of looking glass. It will enable you to see what you are 
doing, and how it looks. 

Outlining, shading, or backing, with a painted back- 
ground, should be done in the order named. Mix 
varnish with the colors, using turpentine to thin Ihe 
background only. Tube colors are the best. 

For wiping or trying out lettering pencils, use empty 
gold leaf books. Attach the book to a table, and as you 



12a THE EXPERT SIGN PAINTER 

use a leaf tear it off. Or coat manilla paper with shel- 
lac, the back of sandpaper answering also. The shel- 
laced paper is particularly useful for carrying in the 
kit, being so much lighter than glass. 

There is nothing equal to gilded letters on a store 
window, well burnished, the lettering done in the best 
style of the art, and no other sign for the purpose will 
give as general satisfaction to the business man. 

The Roman letter is daddy of all others, and the be- 
ginner is advioed to begin with this alphabet and master 
it before taking up any other letters. When he can 
make the Roman perfectly he is very near being a good 
sign painter. 

Nearly all sign painters when doing an acid-emboss- 
ed sign on glass use asphaltum varnish, to which is 
added a little good copal varnish. It is allowed to 
stand at least two days before applying the acid. 

A letter laid with gold leaf will look at its best when 
outlined with a fine black line, owing to the contrast 
made. 

Perha])s nothing is better than black lettering on 
white ground. It shows up even better than white let- 
tering on black ground. This may not be strictly true 
from a scientific standpoint, but practically this is the 
effect. Red catches the eye better than any other color, 
the scientists say, red against green giving the strong- 
est contrast, yet for practical purposes the black on the 
white gror.nd shows up the best. 

Too many colors tend to diminish the advertising 
value of a sign, and hence the matter of color is a very 
important one to the sign painter. Some sign paint- 
ers use as many colors as possible, while others, equally 
good, favor as few as posible. It would seem that the 
latter view is the better one to take. Use only as many 
cplors as may give artistic value to the work. 



THE EXPERT SIGN PAINTER 121 

Good sign work demands finely ground colors, those 
ground ''butter fine," as the color makers call it, being 
the best. It is well for some purposes to grind the dry 
color yourself on the marble or glass slab, using a me- 
dium stiff palette knife. 

For convenience and economy use the tube colors, 
where a large quantity of color is not required, as in 
lettering an ordinary sign ,but remember that it is oil 
color and needs some driers, of which be careful in the 
using ; too much will dim the gloss of the paint. 

Bronze powder is difficult to use for lettering or or- 
namenting, and only flie very finest should be em- 
ployed. If you will add a little flake white to it the 
working will be easier. 

The yellows work easily under the pencil, but the 
whites are rather short and brittle. Flake white is the 
easiest of the whites to pencil with. 

Japan colors, in cans, should be covered with turpen- 
tine, not with water nor oil ; keep a close lid on. Japan 
color seems tO' form a skin, or dry under oil the same as 
when no covering is on it. 

When you want to add some oil to a japan color, add 
first a little turpentine, mixing this thoroughly with the 
color, and forming a paste with it ; stir this well, then 
add gradually, stirring it, and the color will not curdle. 



122 THE EXPERT SIGN PAINTER 



iA 



CHAPTER XXII. 

Notes on Gilding With Gold Leaf on Wood. 

SE THE XXX brand of leaf for gilding on 
wood. 

A book of gold leaf is sufficient to gild 
one and one-half square feet of average 
surface. 

Gilding on oil size can be burnished at once. 

Gilding work should stand over night, at least, before 
varnishing it. 

Varnish impairs the natural lustre of gold, and does 
not adhere well on gold or any other metal. If you 
must varnish over gilding, then first apply a very thin 
coat of best wearing body varnish, and after a day or 
two give it a coat of the best elastic finishing varnish. 

Pale gold leaf does not stand outside exposure as 
well as the darker shades ; being an alloy of gold and 
silver it tarnishes from gas, etc. For exterior use the 
medium shade of color is best. 

Keep the gold leaf in a dry, warm place; dampness 
will tarnish it, and cold hurts it, too. 

The size for gold leaf should be something like gold 
in color, hence it is customary to tinge the size with a 
little ochre or yellow chrome. 

The true color of gold leaf Is blue or green, as may 
he proved by holding a leaf up to the light. 

Leaf should be applied squarely on the surface of 
the letters, in order to prevent crinkling of the leaf or 
breaks. 



THE EXPERT SIGN PAINTER 123 

To lay loose leaf, fold the upper paper over the leaf 
at the desired width and run the forefinger nail lightly 
across the leaf, along the creased edge. 

Gold leaf may be tested by placing a drop of nitric 
acid on a piece of clean glass, and laying a piece of the 
leaf partly on the acid and partly on the dry glass. 
The acid will not affect pure gold, and the amount of 
decomposition of the tested leaf will indicate the amount 
of alloy. 

^ The gold leaf should be 22 carats fine, if of the 
best grade. 

One leafing is enough for gilding on wood. Double 
gilding impairs the lustre of the gold. 

When the leaf adheres where not desired remove it 
with a damp chamois. 

In cold or damp weather it is well to dry the leaf be- 
fore using it, to guard against possible dampness or 
cold. 

If you have to touch up a bad spot in the gilding, do 
not leave a ragged edge, but cut the letter straight 
across; better still, re-leaf the entire letter. 

If the oil size is too wet it will drown the gold, kill 
its lustre ; better have the size too dry than too wet. 

Size and gild a little beyond the letters, so that the 
cutting-in paint will hold well on the leaf. 

If in doubt about the paint on the board being suffi- 
cient to take the size and leaf properly, better apply 
shellac to the letters, using it very thin. 

If vou breathe on the Hldino' before cuttinof in with 
paint it will take the paint better, not creeping. 

To obliterate the mark left by the lap-joins of the 
leaf stipple it with the ends of the bristles of a new sash 
tool. If the gilding shows dull or tarnished before 
leaving the shop may be it has been affected by coal gas, 
or the quality may not have been the best ; gilding usu- 



124 THE EXPERT SIGN PAINTER 

ally dulls if left long in the shop. Restore its color by 
a weak solution of muriatic acid. 

It is a common practice to try the oil size by the back 
of the forefinger, and hence the hands should be clean. 

If the size has become too dry to take the leaf well 
try breathing on it a few times; usually this will soften 
the size so that it will take the leaf all right. 

Rough and too heavy a size will cause rough and 
uneven gilding; the remedy lies in prevention, by lay- 
ing the oil size as evenly and smoothly as possible. 

Gilding that must be varnished had better be given a 
coat of pale thin shellac first, for a quick job. If gild- 
ing is varnished the day it is laid there is danger of its 
scratching, hence the thin shellac will prevent this and 
do no harm at the same time. Varnisli over the shel- 
lac. 

When rubbing off size or color, even a very small spot, 
take it all off at once and remove the spot completely. 

To prevent laps showing, a very likely thing on very 
smooth surfaces, have the size quite tacky. 

After gilding a small sign allow at least two hours to 
elapse before cutting it in with paint. 

The blooming of the gilding may be caused by im- 
pure air or standing too long in tlie shop; remove it 
with a damp chamois, rubbing very lightly. 

Gilding Carved Wood Letters. — Dip the Avooden 
letters in a thin priming- color of pure white lead and oil, 
and hang up to dry. When dry, sandpaper smooth, or 
use curled hair, which will be easier to get into the 
curves with; steel wool is also good. Then apply a 
coat of flat white lead paint, with a trifle of varnish in it. 
When dry rub off and apply another coat of the paint. 
Before putting on the oil size give it a coat of thin shel- 
lac, to make sure all suction is stopped. Use slow oil 
size. Now lay the leaf, and when dry enough tack to 



THE EXPERT SIGN PAINTER l^^ 

the sign board, wiiich has been prepared by painting 
with flat color. Finish the .board according to order, 
whether plain paint or smalts. 

To Prevent Leaf Adhering Whe'TJ'^ Not De- 
sired. — The old way was to size the surface vvl'.^b white 
of egg mixed with water, white of an Qgg hQiv.'^ ^^^ 
to about one-half pint of water, or less, according ^^ 
strength desired. If the surface is not extra tacky, 
dusting it over with powdered whiting or soapstone 
will do, but if too tacky for this, size over with white of 
Qgg is safest. To prepare white of tgg add it to a gill 
of water, and beat it to a froth by means of a clean sash 
tool, twirling it between the hands. Then apply it 
with the same brush to the parts to be protected. 

A pounce bag may be used for dusting on any pow- 
der with. Steatite or soapstone is very useful as a 
pounce, and whiting also is useful, dusting it on and rub- 
bing off the superfluous portion. Some prefer making 
a wash of the whiting and when it is dry brush it off, 
which leaves enough to form a resist. This is particu- 
larly good when using oil size or varnish, as these show 
clearly through the whiting ground. After laying the 
leaf the whiting may easily be removed with a damp 
rag, A thin wash of common starch also answers the 
purpose, applied with a soft brush or sponge. A thin 
solution of stick licorice is also used by some, who keep 
a supply of it in a bottle ready for instant use. It is 
liable to decompose, however, if kept very long. The 
addition of a little alcohol will preserve it. A very good 
resist may be had with a raw potato, cut in two and us- 
ing the cut side tO' rub over the surface oi the work. 
This will leave a thin film of starch as a resist. Per- 
haps this is the best for most purposes. Or the juice 
from a grated white potato may be used, applied with a 
soft brush and allowed to dry. Fullers earth also has 



126 THE EXPERT SIGN PAINTER 

been used as a resist Zinc white and water with 

just a trifle of guniArabic in it is used and preferred 

by some. 

Remving Leaf. — When some gold leaf has be- 

cme attached to a part of the job where not desired it 
may often be removed with plain water, and failing in 
this try a little soap with the water, or a little soap on a 
damp cloth. Be sure to remove every vestige of the 
leaf. If the leaf adheres very stubbornly try a little 
nitric acid in water, or strong vinegar, on a piece of 
flannel. A soft sponge wrung out of hot water some- 
times proves suflicient. Or a five per cent, solution of 
muriatic acid will do the trick. Be careful in using 
the strong acids that the lettering is not affected, the 
acid being liable to raise the leaf. This latter solution 
is the one employed for removing films from photo- 
graphic plates. 

Recovering Gold Waste. — An authority declares 
that in his shop of six men he saves at least $500 a year 
in gold waste or "sweepings," which are sold once a 
year. This seems an extravagant claim, yet there is 
no doubt about there being enough sweepings to pay 
for the time and bother of saving it. At any rate, it is 
done in all sign shops. What is called a ''skew box" 
is made from a cigar box, removing the lid, and mak- 
ing a light frame to fit in the top ; on this frame fit some 
fine wire screen. As soon as leaf is laid on the oil size 
it may be rubbed or burnished, to remove surplus leaf, 
v/hich is done with a wad of raw cotton, holding the 
skew box in the left hand and rubbing the loose leaf 
into the box. The rubbing is done in an upward and 
circular manner^ the cotton catching the leaf and thence 
it may be conveyed to the wire screen, against which it 
is brushed and the leaf is reduced to fine particles, 
which fall into the box. The cotton wads also are saved 



THE EXPERT SIGN PAINTER 127 

and sold. For large wooden letters that are gilded 
provide a large box, large enough to allow you to do 
the letters on the box, so that all waste will fall on to 
the screen and can be rubbed into the skew box. Some 
of the leaf is used for patching the letters with, and 
where patent leaf is used there is very much less 
skewings than when loose leaf is used. Some remove 
the surplus first with a camel's hair brush .then rub off 
with the cotton. 

Book binders save the waste leaf by means of a ball 
of pure rubber, which is sold by houses dealing in sup- 
plies for book binders. It is said that one of these 
balls will take up as much as $25 Worth of waste leaf 
before becoming unfit for further use. This ball may 
be made from three ounces of pure Para rubber, costing 
about 75 cents, or may be a dollar now, per ounce, which 
cut into shreds with a sharp knife, dipped now and then 
in water. Place the shreds in a vessel and pour over 
them enough turpentine to cover the mass ; then cover 
the vessel tightly, to prevent evaporation. After 24 
hours remove the rubber, and knead it in the hands 
until it ceases to stick there, a very tedious work. 

The waste, brushes, cotton, or whatever may have 
been saved from the gilding, are burned to ashes, then 
the asHes are leached with boiling water, containing 
some hydrochloric acid. The gold residuum is then 
boiled with aqua regia, which consists of nitric acid i 
part and hydrochloric acid 3 parts. This dissolves the 
gold, forming chloride of gold. After filtration and 
evaporation to dryness the product is dissolved in 
water, and precipitated with sulphate of peroxide of 
iron. The precipitated gold powder is purified with 
hydrochloric acid. 



128 THE EXPERT SIGN PAINTER 




CHAPTER XXIII. 
Making and Using Fat Oil Size. 

HEN old oil gold size is ready for gilding, 
it may be described as dry but not hard. 
It has been described by some writers as 
''nearly dry," "partly dry," and ''surface 
dry," when the proper stage is reached for ap- 
plying the gold, but all these are incorrect descriptions, 
for it is well known that once the air is prevented from 
contact with linseed oil, as is the case of enclosing the 
latter with a metal envelope, all further drying of that 
oil ceases, and were the gold size not dry when the gold 
is applied, it never would dry hard; and together with 
the gold would easily rub off on being cleaned at any 
further time, a consequence which most gilders have 
at one time or another actually experienced. Linseed 
oil has three stages clearly marked in its drying pro- 
cess, all well known to regular users and distinguished 
as setting, drying and hardening stages. Between the 
two last named it is said to be '*on the tack." The 
value of gold size lies in the lengthening suspension of 
the last of these three stages, during which it carries a 
"tack'^ upon its surface while quite dried throughout 
its texture. When thus ready, if the gilder holds the 
back of his finger against the size with a gentle side- 
ways pressure he does not in the least disturb its sur- 
face or substance, though he finds an adhesiveness hold- 
ing his finger, with a tenacity called the "tack" and 
which firmly holds the gold or other metal leaf laid 
upon it. The hardening process goes on independ- 



THE EXPERT SIGN PAINTER 129 

ently of any further atmospheric contact when the dry- 
ing stage has fairly passed. Upon this latter feature 
the value of this mordant rests. 

Fat Oil Size Formula. — Boil some pure raw 
linseed oil and place it in a wide-mouthed bottle, hang 
in a sunny window, where no dirt can get into it. It 
will require some weeks to become fit for use, but it 
will be the best possible. 

To get an over-night oil size, add to clear fat oil size 
one-tenth its bulk of turpentine driers of the best kind. 

For a forty-eight-hour oil size add one-twentieth of 
Its bulk of best turpentine japan driers. 

Thin the above sizes with gasoline, to make it tlow 
easily. 

To fat oil, one part, add two parts of gold size japan, 
with chrome yellow enough to give it the desired gold 
color. 

A slow-drying oil size may be made from two parts 
fat oil and one part finishing varnish, adding also 
a few drops of japan gold size. Add ochre or yellow 
as desired. 

A quicker size than the preceding one may be made 
by using a medium quick drying varnish and just a lit- 
tle fat oil, and rather more japan than called for in the 
other formula. 

Mix equal parts of freshly boiled oil and coach japan, 
and color with chrome yellow, then add an equal 
amount of the whole of fat oil. This makes a slow 
size, one that will do to gild on the next day, or a day 
or so after that. Of course drying depends largely 
upon the atmosphere or the heat of the shop, but you 
can hasten or retard the drying by varying the propor- 
tions given; the more fat oil the slower the size. A 
size may be made as quick or as slow as you please. 

Expose some pure raw linseed oil in an open-mouth- 



130 THE EXPERT SIGN PAINTER 

eel bottle where it can have sun and air, and in a few 
weeks, or months, it will become oxidized or thick- 
ened, in which condition it is fat oil. Its action in 
drying may be quickened by the addition of turpentine 
japan drier. 

Fat oil is also produced by chemical means, and may 
be bought ready for use. It is thought by some to be 
better than the shop-made article, and can be thinned 
with turpentine alone, the tack holding longer than 
usual, so that it may be leafed on the next day_or next 
week. 

A good oil size may be made from fat oil to which 
add a little pure boiled oil and lemon chrome to color. 
This size dries almost perfectly in 24 hours, holding its 
tack for 48 hours at least, and still give a good tack. 

If the job is to stand over night, use two-thirds fat 
oil, one-third finishing varnish, and a few drops of gold 
size japan. Add ochre or lemon chrome, as preferred, 
for color. 

Mix dry French yellow ochre, two parts, to one part 
of dry white lead, then add raw oil enough to make the 
mass into a thin paint ; place in a suitable vessel, and ex- 
pose it where the sun and air can get at it. The oil 
will rise to the top of the mass, and in a few weeks it 
will be fat oil. This is a quicker method than that with 
just the oil in the bottle. 

Boil raw oil in a copper or porcelain-lined kettle, or 
an iron pot will do equally well, and keep the oil up to 
500 degrees F. for three or four hours, then add about 
ten per cent, of good liquid drier or gold size japan. 
This makes a thick, varnish-like substance that has to 
be reduced to a working consistency with turpentine; 
do not use benzine, as it will not do, nor can you get as 
good a job over it. 

Stir a little red lead and litharge into some boiled 



THE EXPERT SIGN PAINTER 131 

oil; let it stand, shaking frequently, until the oil has 
bleached. Then bottle it. Raw oil gives a slower dry- 
in,g size. 

Here is a very old and very good oil size : Heat raw 
oil in a pan until it gives forth a dense smoke, then set 
it afire, let it burn a few seconds, then extinguish the 
blaze by inverting another pan over the one with the 
oil in it. Let the oil now cool a little. Have some 
litharge and red lead in a bottle, and pour the quite 
warm oil over them. Now place the bottle in a warm 
place for two weeks, shaking occasionally, say once a 
day. Then pour off the oil for use. The old-time 
shop way of boiling oil was in this way, in a pot over 
the kitchen fire, and when it would scorch a feather 
placed in it, it was said to be done. 

A sign painter tells us that he uses boiled oil, adding 
a few drops of japan to it, and a little turpentine, when 
ready to use it. He states that it will hold its tack 48 
hours, and make very bright gilding. He has "used it 
the entire season, with the happiest results." 

Other Sorts of Size. — A size that can be depended 
upon for leafing three hours after being applied can be 
made from finishing varnish, to which add some japan 
drier and chrome yellow to color. A good formula is 
one-third japan to two-thirds varnish. 

For a size that will do to leaf on in from fifteen min- 
utes to an hour, use the best inside house varnish, one 
that has a good lustre being best. 

A somewhat slower size may be made by adding 
coach japan to coach finishing varnish. 

A quick size for small signs that are on hurry orders, 
or that must be gotten out of the way, may be made by 
adding a few drops of boiled oil to an ounce of japan 
gold size. Add a little lemon chrome for color. 

If for quick work, take a medium quick drying var- 



132 THE EXPERT SIGN PAINTER 

nish, add just a little fat oil and some japan, and you 
have it. 

A size that may be used with safety three hours after 
application may be made from equal parts of finishing 
varnish and japan drier, tinted with chrome yellow. 
Perhaps a better formula would be two-thirds of var- 
nish to one-third of japan. 

Quick size is used for inside sign work, and here is a 
good one: Take the best japan gold size and add 
enough chrome yellow to color it, and also to give it 
body, and add a drop or two of fat oil, to enhance lus- 
tre and increase thickness. 

Best copal varnish one pint; gold size japan one gill; 
best coach japan one-half pint. This takes the leaf in 
two hours. 

Good drying varnish one pint; best coach japan one 
gill ; or half as much gold size japan. This size will do 
to stand over night. 

Good varnish one part; japan gold size three parts; 
or about three-quarters as much coach japan. This is 
for quick work. 

Mix together one-half pint wearing body varnish, 
and one pint of coach japan. This is for an ordinary 
job, it being a moderately quick drying size. 

For instant gilding mix together one part of quick 
leveling varnish and two parts of gold size japan. 

Size For Aluminum Leaf. — Aluminum leaf re- 
quires a size very much stronger and slower in drying 
than g-old leaf does. It will be found better to use var- 
nish than gold size for this purpose. A little white 
lead mixed with the varnish is all that is necessary in 
order to have a good size for aluminum leaf. If the 
varnish is too slow in drying, as it may be in a dusty 
street or on a sign that is required more quickly, a little 
japan gold size may be added to it, with good effect, ac- 



THE EXPERT SIGN PAINTER 133 

cording to the wish of the user. The only difficulty in 
regard to the use of size for aluminum is to know when 
the proper time has arrived, in the drying process, for 
the application of the leaf. It need not be as dry as 
necessary for gold leaf, but it must be dry enough to re- 
ceive the aluminum without working through it or 
moving under it. As soon as the size is firmly set the 
leaf may be applied. 

Size For Aluminum Bronze. — A good size for 
taking aluminum powder may be made by mixing to- 
gether any jo^ood exterior varnish and gold size japan, 
adding a little white lead for color. Apply and when 
of the right tack dust the size and bronze powder. Or 
the powder may be mixed with the size and be painted 
on. The former way gives the best effect. 

OIL SIZE NOTES. 

If the size is too thick it will impair the lustre of the 
gold. 

To slow the oil size add a little varnish, just enough 
to do what you want, and no more. 

For gilding on a window shade use gold size, adding 
boiled oil, or use a quick-rubbing varnish size. 

Use gold size where gilding on wood is to be done, 
where the leaf must be laid at once. 

The size for aluminum or nickel leaf is the same as 
for gold, only it must be heavier, adding white lead in- 
stead of yellow. 

For japanned tin signs use the same size as for wood, 
only it must be very thin, applied with a soft pencil, in 
order to get it as smooth as possible. 

Size may be applied with a bristle brush, where the 
letters are not too small, but care must be taken that 
the size is made smooth ; a camel's hair brush is usually 
best. 



134 THE EXPERT SIGN PAINTER 

Years ago the size used was slower than now. 

Fat oil makes the best oil size, but it should be tem- 
pered with boiled oil, fresh, and japan gold size. 

For sign boards, nothing as good as fat oil size, add- 
ing a little boiled oil, and chrome yellow to color it. 

Use the size quite thin, and for the best effect use it 
sparingly. 

The more time size has for drying, consistent with 
proper tack, the better the work. 

Too soft size will deaden the leaf, but too dry a size 
will fail to hold the leaf well. 

Raw oil size will sweat through the leaf and kill the 
lustre. 

If too dry breathe on the size and quickly apply the 
leaf. 

Best results from a quick size come when it sets in 
from two to four hours. For such a size use turpen- 
tine thinners, working it in with the pencil. 

Keep the oil size well corked when not in use. 

Some think the oil size is better if made up for use 
the day before, instead of making it the same day. 

A size is thought to be right when it will dry in 24 
hours and remain tacky some hours longer. 

When you wish to run a very fine line with size 
alwa3^s add a little chrome yellow, to prevent the line 
spreading. 

If the gilding is to be varnished over do not use fat 
oil, but gold size or varnish alone. 

Fat oil size for outside use, but get the job out of 
the shop as soon as possible, or the size will sweat. 

Picture frames are given as many as eight coats of 
gold size for gilding, and it is none too much. 

If your size is too heavy it will cause the letters to 
stand out ; the same as regards scroll and all ornamental 
work. 



THE EXPERT SIGN PAINTER 135 

Too heavy a coat of oil size will sag and make bad 
work. It will not dry with the right tack, and the leaf 
will crack as you press it on. 

Gold size is easily affected by cold and heat. In cold 
weather, if the tack is gone, it may be restored by 
placing it near a fire. 

Gold size may be either a varnish or a more elaborate 
and indefinite composition. In either case it should be 
a speedy drier and have a tough substance. The former 
class is preferable, as being definite. In appear- 
ance it will answer as a hard to medium dark varnish. 
An inferior gold size sometimes met w^itli is made up 
of half-and-half boiled oil and rosin varnish, varied 
with a little better material to meet the price. The 
smell is often disguised, but the gluey appearance of 
the stuff tells of its inferior character. 

Use a quick size in winter, and slow with boiled oil 
if this be necessary; this should give the right tack in 
24 hours. 

Trouble with the size in summer may be remedied by 
the addition of a little quick rubbing varnish, which 
will harden it evenly. 

Boiled oil may cause sweating in gold size, hence 
must be used with care ; finishing varnish is safer. 

If the size curdles as you mix it for use, or rolls up 
under the brush or pencil, the fault is with the japan 
gold size. Get a kind that will mix up with the oil. 

Thin fat oil size with gasoline, which will give the 
very best results. Thin fat oil will give clear-cut edges 
on letters, it may be applied easily and will be uniform 
in covering, with a good gloss, as the gasoline soon 
evaporates and leaves the fat oil in a thin film. You 
can burnish hard on this size, with raw cotton, getting 
a fine burnish. Fat oil size is suitable for all exterior 
gilding, but should never be varnished over. 




136 THE EXPERT SIGN PAINTER 

CHAPTER XXIV. 

Aluminum, Leaf and Bronze, and Silver Leaf. 

LUMINUM leaf looks handsome on a blue 
ground, of course, but that is not the only 
ground it will do well on. It looks very 
well on a green ground, and some greens 
setter than others. On a green ground, however, it is 
well to shade with black. It looks very cold and tame 
on a black ground. It looks well on a red or brown 
ground, but on a bright straw color, orange or cream, 
it does almost as well as on blue, and its effect is nearly 
as good as gold. Fine effects may be had by using 
the aluminum and gold leafs in combination. This 
particularly in ornamentation. Aluminum leaf like- 
wnse does nicely on light warm tones of green, blue or 
stone color, in connection with dark shading. 

This leaf does not answer for glass work, for it is 
too stiff and unpliable, being more so than silver 
leaf. The size for aluminum leaf must be much softer 
than that used for gold leaf. A good size may be made 
with half-and-half of gold size and varnish., adding 
some flake white to color it and give a good back- 
ground under breaks. The leaf is cheap, so that you 
need not be so very careful with it, but apply in as large 
sheets as possible. 

Aluminum leaf differs with gold in this, that while 
gold leaf is independent of the ground that it is placed 
on, the ground for aluminum leaf must be that which 
will agree wnth it as regards color, for, as we have 
shown, the leaf harmonizes well only with certain col- 
ors. This is because gold has color, but aluminum has 



THE EXPERT SIGN PAINTER 137 

not, but is white and cold, as silver is also; but then 
aluminum leaf has the good quality of borrowing 
color^ so that if we surround it with orange it will be 
seen to become warm and even glowing with color. 

An aluminum letter will look well when shaded with 
a warm sienna tint. Fine line shading is better than 
heavy shades. A plain double shade, too, looks well. 
That is, two shades of the same color run parallel. 
When this is done, place the lighter shade on the outer 
side, and you may run this so as to cover all the space 
that the two shades are to occupy, and when it is dry 
run the second and darker shade to cover one-half of 
the first applied shade. 

Aluminum leaf will never usurp the place occupied 
by gold, of course, nor even prove more than a useful 
adjunct to that precious metal in sign work, but if it is 
handled properly as regards coloring, very handsome 
effects may be obtained. 

Varnish Over Aluminum. — The effect of varnish 
over aluminum is to give it the appearance of white 
paint. When used for lettering it should be on a flat 
ground, and either left unvarnished or varnished with 
a pale carriage varnish. When it is necessary to var- 
nish the ground, cut in with the varnish round the let- 
/ers and leave the leaf untouched. In using aluminum 
powder, the same applies; that is to say, apply the 
powder over the sized surface and leave it. At most, 
give it a thin coat of gelatine size. 

Pow^DERED Aluminum. — Aluminum is taking the 
place of silver in sign work, owing to the fact that it 
does not tarnish as silver does, but retains its natural 
color for a very long time, if not. indeed, an indefinite 
period. We hear that in England this metal does 
tarnish under exposure to the atmosphere, and no doubt 
that where there is much soft coal smoke, as in some 



138 THE EXPERT SIGN PAINTER 

parts of England, as well as in some of our American 
cities, the metal will become tarnished by the soot at- 
taching to its surface. However, it may be said to be 
immune in this matter in nearly every part of our 
country, and certainly holds its color well. 

There are several grades of aluminum bronze (cer- 
tainly not bronze, but powder), costing according to 
the degree of fineness to which it has been ground, all 
being perfectly pure, and it is said that the coarser va- 
riety, costing least, wnll show up more brilliant than the 
finer grade. If you wish to mix the aluminum powder 
with liquid for application then get the finest powder. 
If to be dusted on, then the coarser will do. There is 
an adulterated aluminum, and it will turn dark in a 
certain length of time. 

Aluminum Size For Wood. — Thin up some white 
lead that has been ground in oil with good copal var- 
nish, adding a little japan driers, then thin to a working 
consistency with turpentine. When this size has be- 
come nearly dry, having proper tack, apply the powder 
by means of a soft rag, and to get a nice polish rub 
more. 

Lettering On Glass. — Aluminum powder should 
be used on the front of the glass, or outside of window, 
as it cannot be burnished on the inside, and does not 
look at its best from the inside. Size in the letters with 
varnish thinned with turpentine, adding a little white 
lead and driers, and when nearly dry, which stage it 
reaches according to the drying quality of the size, and 
which may be anywhere from an hour to twenty-four 
hours, as you choose, pounce on the powder with a soft 
rag. The lettering should be done very carefully, so as 
to show up true, after which the shading may go on, on 
the outside ; it is best to do the entire job on the outside, 
though it may be done also entirely On the inside. It is 



THE EXPERT SIGN PAINTER 139 

advised, also, to use a quick size for outside work, so as 
to get the job done and out of danger as soon as possi- 
ble. For shading use a varnish color, that is, mixing 
the color with varnish, avoiding japan colors entirely. 
The same as to blacky and for inside work use the same 
kind of color, first outlining the letters with the black, 
then putting in the shade. When this is dry, add some 
aluminum powder to some quick size (never use oil 
size for this work), and fill in the letters perfectly 
When right for the powder, rub it on with a soft rag, 
and when this is dry back up with sharp lead color. 
For a first-class job let it stand for several days, then 
give it a coat of spar varnish, allowing the latter to ex- 
tend beyond the edges about the eighth of an inch. 

For size used on outside work add flake white to the 
size. For inside work add a little aluminum powder. 

Silver Leaf. — Silver leaf is not used to any great 
extent in sign work, now that we have aluminum leaf. 
It is too heavy to lay on glass, although it is done, but 
only with difficulty. Strong isinglass size is used. An- 
other objection to silver leaf is that it shows the joins 
badly, though this must be expected of any such heavy 
and unyielding leaf. It does not give a brilliant effect, 
but when used can be made effective enough if the 
workman understands its handling. Compared with 
gold leaf it gives a cheap impression. 

To silver on glass it is necessary to follow about the 
same line of procedure as with gold, the glass must be 
made perfectly clean, and when done it must be backed 
up with a color containing little oil. An English 
painter tells us that there is no necessity for making the 
isinglass size so strong, but that it may be used weak, 
and after the leaf is on let it dry, rub it well with cotton 
wool, then size and lay a second leaf, and again rub with 



140 THE EXPERT SIGN PAINTER 

cotton. Then touch up any faulty places. For back- 
ing up use lead and a hard drying varnish. 

Never press the leaf with the thumb, for that will 
make the leaf appear spotted; use the ball of the 
hand, pressing firmly, and where two parts come to- 
gether, or over-lap, pound lightly with the ball of the 
hand. These remarks apply also to aluminum leaf. 

It is impossible to see the outlines through silver, or 
aluminum leaf, when double leafed, hence a pounce 
must be used. 

Both silver and aluminum leaf will leave rather rag- 
ged edges, and by the use of a thin strip of steel, beveled 
on one edge, laid down on the edge of the work, the 
uneven parts may be cut or rubbed away, leaving the 
edge perfectly true. The sizing in should also be made 
as true as possible. 

To remove the surplus leaf add a teaspoon ful of mu- 
riatic acid to a gill of water, and wet a rag with this, 
and rub away the leaf. Fluoric acid is perhaps better 
than the other, but is not essential. Be careful not to 
get the acid too strong, or it will cause the edges of the 
letters, or the leaf, to raise. After removing the leaf, 
remove the acid by careful washing with water. 

Silver cannot be beaten out so thin as gold leaf; 
the thinnest weighs about 23 grams to the square meter, 
and the specific gravity of silver is only 10-5. This 
corresponds to a thickness of about one ten thousandth 
of an inch. 



THE EXPERT SIGN PAINTER 141 




CHAPTER XXV. 

Gilding on Glass. 

HEN we reflect that glass is practically 
non-porous, having a surface offering no 
tooth at all for paint, varnish or leaf, it is 
surprising that gold leaf, saying nothing 
about silver or other metal leaf, should hold so firmly 
in glass gilding as it does. The size used is a glue 
easily affected by dampness, and in this respect great- 
ly inferior in staying quality compared with oil size. 
But it is not uncommon to find a good job of glass 
gilding wearing well for many years. 

Glass gilding is a simple mechanical operation, yet 
it demands the utmost care and skill in order to pro- 
duce a durable job; the art side is something else. 
First, the glass must be made absolutely clean, on 
the outside, so that the inscription may be marked 
there with chalk ; and on the inside, so that the water 
size will take, or not creep on the glass. All the 
tools and vessels used in the work must also be scru- 
pulously clean. The slightest greasiness is fatal to 
good work. 

Clean the glass with whiting and water, let dry, 
then remove by rubbing with clean cloth ; polish with 
tissue paper or clean woolen rag. A damping off 
with a sponge wet with alcohol is useful as a final 
precaution. If the chalk fails to mark good, breathe 
on the glass and also on the chalk, holding the latter 
well in the mouth. 



142 THE EXPERT SIGN PAINTER 

The size must be flowed on even, using a soft, wide, 
camel's hair brush, avoiding air bubbles and specks, 
which would show up in the gilding. 

In leafing a large surface, do not size a space of 
more than two or three leaves of gold, as the size 
might dry before you got to it, or partially dry out, 
and so it is best to apply the size a little at a time, 
as you proceed with the work. The drying of the 
size in this way would cause cloudiness of the gild- 
ing. Begin sizing- in the upper left-hand corner of 
the sign. Use fresh size each day, as it spoils if kept 
over a day, particularly in warm weather. Apply the 
size liberally. 

If the size has dried before the leaf got on, then 
wash it off with hot water; leaf laid on the dry size 
would show up matt. Hot size is better than plain 
hot water for the purpose. 

The Lay-out of the Sign. — There is more than 
one way to lay out a window sign for leafing. One 
way is as follows : Coat the outside of the glass with 
whiting and water, with a bit of ultra-marine blue in 
it, for color, and a little mucilage, to bind it. Then 
with a pointed stick or pencil trace the inscription, 
which will show up on the inside, backwards. This 
is a very good way for beginners. Then here is an- 
other method : Outline the lettering on a sheet of 
thin but tough paper, using a heavy black lead pencil, 
then attach the lay-out to the front of the glass with 
photographer's paste, applying the paste to the glass, 
not to the paper. This will allow you to see the in- 
scription plainly through the glass and to trace the 
letters from the inside. The light from the outside 
shows through the paper, and even through the gold 
leaf when that is on, making- it easy to outline the 
letters or fill in with backing-up color, making the 
letters. 



THE EXPERT SIGN PAINTER 143 

The foregoing way has been disputed by a cor- 
respondent, who tells me that the method could be 
employed only where an outline was first to be used, 
as pencil marks will not show through the leaf, 
whereas, chalk marks will. If outlines are to be 
used on the letters, he adds, the paper may be at- 
tached to the inside of the window, and the letters 
may be chalked on the outside, from the paper that 
is on the inside. 

Still another way : Make a pattern on oil paper, 
stick on outside of window with gummed stickers, 
and gild, cut paper ofif from outside, leaving half of 
stickers on glass, rub whiting over face of paper, and 
stick on over leaf inside, having stickers come exactly 
as on outside, trace outlines of letters with pencil, 
and you have them on the leaf with whiting. Then 
back up, wash ofT, shade and varnish. 

Sizing and Leafing. — The following are from vari- 
ous sign writers : 

Lettering in gold on glass windows cannot be done 
in cold weather successfully, and in zero weather not 
at all. This is applicable to all climates where the 
frost is hard enough to cause frosting on the inside 
of the windo'W glass, and this will be found much 
worse on the south side of a street, where the sun 
does not have access. There are days in winter, 
however, when a small job can be done, if the job can 
l)e finished in one day. As a rule gilding on glass 
windows should only be done in warm or mild 
weather. 

The water size used is made preferably from Rus- 
sian isinglass, which see under its head in another 
part of this work, as also other sizes used. Also 
method of preparation. 

Use a two-inch camel's hair brush for applying the 
size, and a badger hair tip for lifting the leaf. 



144 THE EXPERT SIGN PAINTER 

Open the book of leaf and bend the paper leaf 
back far enough to expose the amount of leaf you 
wish to take up, then draw the nail of the forefinger 
lightly but firmly across the leaf, just creasmg the 
leaf, not cutting It off. When you apply the tip to 
the leaf it will cause the leaf to break where you 
creased it. Lay tne tip on to the leaf, and carry it 
squarely to the glass, and lay it squarely against the 
space you wish to cover, the space having just im- 
mediately before been sizea ; size only as much space 
as you can do before the size dries, say two or three 
letters. Begin at the upper left-hand corner of the 
sign; a left-handed man would begin at the other 
corner. 

It is important to take up and apply the leaf 
squarely, and not at an angle, for in the latter case 
the leaf will surel}^ crack o^ break. Do not try to 
lay the leaf exactly on the lines of the letter, but aim 
to cover every part of the design smoothly as pos- 
sible, even thoug'h you get as much gold outside of 
the lettering as on the inside, which, by the way, is 
almost sure to be the case when doing script letter, 
even wdien done by an expert. Many good signs 
can not be read when first gilded. Considerable leaf 
will be dangline* from all parts of the sign, and some 
of this may be used for patching up broken places; 
carefully touch up all such parts with a little size and 
then take some of the loose leaf from the letters or 
from the book if need be, and touch up with. After 
the sign is done, allow it to dry, which will take an 
hour and a half or so, and then brush it off lightly 
with a camel's hair brush, holding a small box near 
the work so as to catch the surplus gold. 

If the letters do not appear to be nicely covered 
with gold, it may be necessary to apply a second coat 
of size and leaf. For a strictly first-class job, a sec- 



THE EXPERT SIGN PAINTER 145 

ond leafing must be done. No matter how well you 
may lay the first leaf, especially on large letters, the 
joinings will show and it will have a patchy effect. 
Double gilding prevents this effect. This is done by 
giving the gilding a second coat of size after all the 
loose leaf has been removed by iM'ushing, and allow- 
ing it to dry; then with a wad of absorbent cotton 
go over the gilding by rubbing lightly with a circular 
miotion until the gold appears cjuite thin and trans- 
parent. Then proceed to size and apply another 
leafing. When all is gilded, patch up if necessary, 
and clean as before. Then apply a couple of coats 
of size, allowing plenty of time for drying between 
coats. No'W we are ready for the backing up. Fasten 
the design on the outside of the glass by means of 
gum stickers, and, after you are done with the de- 
sign there, cut the design loose from the stickers, 
leaving the attached parts to guide you when you 
place the design in place on the outside of the glass. 
Then pounce your desig"n onto the gilding, after 
which you may remove the paper design. 

For backing up the design or letters, mix together 
white lead and chrome yellow, thin with japan gold 
size and turpentine. Use a sable pencil for this work. 
Let the paint have several days for hardening in; if 
you attempt to wash off before the backing gets 
hard enough it will peel off in places. When it has 
become quite dry, wash off the surplus gold with a 
wad of raw cotton and quite warm water. The thumb 
or finger nail is often used to trim up corners or edges 
and crooked places; some use a rule and sharp chisel 
for the purpose. When the job has been nicely clean- 
ed and looks fine from the outside, apply another 
coat of paint to the backing-up, using usually black 
or Prussian blue ; first outline the letters, and allow 
the color to extend outside the letters from an eighth 



146 THE EXPERT SIGN PAINTER 

to a fourth of an inch, according to the size of the 
letters. This serves a double purpose, making the 
letters look larger and protects the letters from frost 
and water. When this backing is hard, add a final 
backing of protective varnish, a good exterior var- 
nish answering, using a sable pencil, and allowing 
the varnish to extend outside the other backing. 
This should hold the job for at least two years, when 
another coat of varnish should be given. The owner 
should attend to having it revarnished as often as 
may be necessary, this depending upon the amoimt 
of wear and tear the job is stibject to. A high-price 
job of gold sign work is well worth taking care of. 

Backing Up. — What shall the backing-up paint be? 
V^arious compositions are tised, individual preferences 
prevailing, and it may with truth be said that after 
all there is nothing so convincing to a man as his 
own successful experience. Hence we find quite a 
number of formulas for this purpose. Thin some 
japan lamp black with gold size japan, and 
when it has the right tack rub some aluminum 
powder over it, as if you intended bronzing the let- 
ters. Shade or edge the letters neatly, making the 
line of a uniform width around the letters, and the 
backs will look nice, as well as the front. 

Mix equal parts of japan gold size and a good, 
slow drying varnish ; grind or work into this mixture 
some refined lamp black, dry, if you wish a black 
background, or yellow chrome if yellow backing is 
desired. Thin wnth turpentine to work well. 

It is thought by one of the most expert glass sign 
niakers that it is a serious mistake to use quick dry- 
ing color for backing- up, saying that in the contrac- 
tion and expansion of the glass the brittle color is 
apt to crack or flake ofT. Some sign painters recom- 
mend a mixture of dry lamp black, coach varnish and 



THE EXPERT SIGN PAINTER 147 

Japan driers. While others prefer dry chrome yel- 
low, wearing body varnish and japan drier. (Vide 
Tweed & Ran, Chicago.) 

There are two backing-up colors that cannot be 
improved upon, one being artists' asphaltum in oil, 
and the other is lamp black in japan, bound in good 
elastic varnish. (Vide E. M. Lester, sign artist.) 

Grind some refined lamp black with palette knife 
on slab, in spar and rubbing varnish and a few drops 
of boiled oil. Use only elastic color; use as Httle 
turpentine as possible. Make a good stiff mixture 
with japan lamp black, gold size japan, and a little 
genuine boiled oil to bind. Let it dry until next day. 
Then take some very thin tinfoil, the thinner the bet- 
ter; varnish the back of your letters, say several of 
them with a medium drying rubbing varnish. When 
it gets tacky, lay a smooth piece of foil on the letter, 
covering a quarter of an inch over the edge of the 
letter all around; then lay a piece of paper over the 
foil and rub the foil down as close to the letter as you 
can ; take away the paper and run your finger over 
the foil around the edge of the letter. You will find 
an impression of the letter on the foil. Now take a 
steel rule or straight edge and a very sharp-pointed 
knife-blade or a needle (have a small oilstone handy 
to keep the blade or needle sharp) and follow the 
edge of your letter all around, keeping a small dis- 
tance inside of the edge of the letter. Now remove 
the foil from outside of your cut and the letter is 
backed up with tinfoil. There must be no foil show- 
ing from the front of your job. Now back up the 
foil and edge line your letter with spar varnish and 
Prussian blue, or any color desired, and when dry 
you have one of the best jobs of backing you could 
put on. Try it. (Author unknown.) 

A backing-up that will require no varnish may be 



148 THE EXPERT SIGN PAINTER 

made as follows : Equal parts of tube lead and fat oil 
are mixed, and to the mass is added a little litharge. 
Color with any desired color, using tube color pre- 
ferably; strain the color through fine bolting cloth. 
If too thick, after straining, thin down with boiled oil. 

To dry lamp black add two parts boiled oil and one 
part turpentine sufficient to form a heavy paste, 
which may then be thinned down with turpentine, 
adding a little elastic varnish to bind it. This paint 
will not come ofif, with fair usage. 

Asphaltum, formerly used exclusively for backing 
up with, is too brittle, especially for large surfaces; 
it will do fairly well on small areas. Drop black in 
japan is also used, but for a sure backing nothing 
can excel white lead tinted with chrome yellow, to 
which add a little durable wearing body varnish and 
thin to working consistency with turpentine. Or, in- 
stead of chrome yellow use lamp black, in quantity 
equal to the amount of white lead used, mixing with 
turpentine and adding a little raw oil. When this is 
dry apply a coat of some good varnish, lapping over 
the letters a trifle. 

If the gilding has been properly done, the best 
coach painter's japan drop black may be used in pre- 
ference to any other paint. 

Speaking of tin foil backing, a sign painter says 
that he knows of a job that has lasted for 25 years 
without showing any evidence of deterioration. He 
presses the foil with rubber roller. 

When the letters are to be shaded it is necessary 
to apply a backing-up color that will not soften under 
the shading color, and a painter recommends for this 
purpose dry lamp black mixed with quick drying 
rubbing varnish, thinned with sufficient turpentine to 
produce free working. Or use drop black in japan, 
thin with turpentine, and add some quick drying var- 



THE EXPERT SIGN PAINTER 149 

nish for binder. This backing can be made to dry 
hard in from lo to 12 hours. 

If the gilding is single coated, back up with orange 
chrome yellow and gold size. If double gilded, then 
use japan black. This has reference to color only; 
the black might show through the single coat of leaf, 
is the idea conveyed. 

For shaping letters, designs, etc., use one-third 
chrome yellow in japan, one-third rubbing varnish, 
and one-third spar, using the best of each. 

Matt Outline On Burnished Gold Letters. — 
Having made your lay-out, pounce it on the glass, 
and draw the outlines in damar varnish size, and let 
it dry. Then size with isinglass over all, and lay the 
gold leaf and burnish as usual. Silver or aluminum 
leaf may be used the same way. This shows a matt 
edging or outline, and a bright gold or silver body. 

How TO Care For Tips. — The gilder's tip, costing- 
only a few cents, and thus apparently unimportant, 
plays a very important part, and is worthy of the 
greatest care and should be kept in the pink of con- 
dition. An old book is the best place to keep it when 
it is not in use. The reason for this becomes obvious 
when we consider its delicate structure. In the book 
all its thin, fine hairs are kept in place without disar- 
rangement. And several tips should be kept on hand 
ir. case one might go bad. Give each one a separate 
place in the old book where no one will disturb it, and 
don't forget where you leave the book or you ma}' 
have a hunt when you want the tip. 

Burnished Gold Letters On Ground Glass. — 
To make a burnish gold letter on ground glass, have 
the polished side of the glass out (in all cases) ; make 
your lay-out on the inside carelessly, just indicating 
where you have got to lay your gold. Gild the pol- 
ished or front of the glass with water size, same as 



150 THE EXPERT SIGN PAINTER 

for ordinary gilding on glass, where your lay-out is 
indicated. When dried out polish the gold with piece 
of cotton and regild it solid, and when this has dried 
out, rub it down with cotton. Now letter on the gold 
with asphaltum, having previously made a careful lay- 
out of the wording on a piece of paper and traced it 
on the gold. When the asphaltum has dried take a 
piece of wet cotton and clean off the surplus gold 
around the letters ; go carefully and clean it well. 
Now take another piece of cotton and saturate it 
with turpentine and clean the asphaltum off, and your 
gold letters are on the glass. The removing of the 
asphaltum should be done with care and not rub too 
hard on the gold, and all trace of turpentine and as- 
phaltum should be cleared away from surface of gold 
and glass. Now shade and hig'h light, or edg*e line 
it with quick drying color, and when sufficiently dry, 
varnish the letters and shading with very pale and 
good drying varnish, and it is finished, and will stand 
washing with water many times. 

Gilding On Sweaty W^indows. — It is almost im- 
])ossible to gild a window in winter in a cold climate, 
and the only time it may be done safely is on a nice 
clay, finishing up the same day, as may be done ac- 
cording to the method given in another place. Res- 
taurant windows, or wherever there is moisture and 
heat, and poor or no ventilation, there will be sweat 
on the glass. Under such conditions it is impossible 
to gild. Some bore holes ni the window frame. In 
some way there must be ventilation, insuring a free 
circulation of air. Also, do not outline the letters 
first, but gild and outline afterwards, which will pro- 
tect the gold ; then as the outlining covers letters and 
glass a little, so too the varnish coat may be made 
to do the same. This will hold the gold after it is 
on. 1)ut the trouble we are speaking of is sweating of 



THE EXPERT SIGN PAINTER 151 

window, making it impossible to lay the leaf. In cold 
weather we would not advise the undertaking of a 
large design, but a small or ordinary job may be fin- 
ished up in one day, selecting a good day for it. 
Lester; a New York sign artist, says he knows of a 
window that has been lettered several times, and each 
time by a good workman, but it being a sweaty win- 
dow, each time it was a failure. It finally became 
necessary to do a job on a plate of glass and set it in 
the window. 

Marking Out Lettering On Glass. — In setting 
out a sign on plate glass, the chalk will not take so 
readily as on a painted sign. For that reason some 
prefer to use hardened soap. This will make a good 
outline, but leave a greasy mark that is almost as 
hard to remove as when the setting out is painted in 
black. French chalk is also good, but like the soap, 
is hard to remove. There is nothing to beat the 
sticks of prepared school chalk. Sharpen these with 
a chisel point and the settino" out can be done on 
glass as clean and as effective as with the black paint 
and pencil, while it is easily removed with a dry rag. 
If the glass is somewhat greasy the chalk will slip 
over it and not write easily. To obviate that, before 
starting to set out run over the whole of the glass 
with a coat of weak size or strong isinglass solution, 
v.hich, when dry, will make the chalk bite easily and 
the setting out can be done with as much expedition 
as on a painted sign. 

French chalk is made from soapstone, or steatite. 
A pencil may be made from melted beeswax or par- 
affin, tinted a little with dry color while melted. This 
is not recommended. Another formula calls for 
stearic acid 4 parts ; mutton suet 3 parts ; beeswax 2 
parts ; then add 6 parts red lead and i part purified 
carbonate of potash. Set in a warm place and stir 



152 THE EXPERT SIGN PAINTER 

once in a while for an hour or so, then pour into glass 
tubes to form the pencils. 

Another Way. — The copy prepared before going 
on the job is done by outlining the design on wrap- 
ping paper with lead pencil. Then trace it carefully 
with a tracing wheel. For script or complicated de- 
signs such as may be considered indispensable. The 
pattern should be attached to the window by means 
of gum stickers, but if it is a windy clay pounce the 
design on the glass by using a little whiting or ochre 
in cheesecloth, which gives the outline ; then, to make 
it more plain to gild by, outline it with a sharp point- 
ed piece of Ivory soap. 

Layout of Painted Lettering On Inside. — The 
inscription is to be painted on the inside of the win- 
dow, hence the layout would be backwards. You 
can mark out the letters on the front of the glass 
with chalk, or soap, or French chalk, then paint them 
in from the back. Where one is not expert it will be 
better to outline the letters in oil paint on the out- 
side, doing the work perfectly, then paint in from 
inside, washing off the front letters with a rag and 
benzine. 

Outlining In Black Paint. — The outlining 
should show as a dense black from the outside or 
front, and if it shows gray instead, then the paint has 
left the glass. To make sure, always clean the glass 
perfectly. Try a solution of nitric acid one ounce 
and acetic acid one ounce, in half-pint of water. Rub 
this well onto the glass, causing some friction. Then 
v/ash off with whiting and water, the whiting in a 
semi paste form, after which clean off and polish 
with tissue paper. 

Matt Center and Burnished Edge Letters. — 
This makes one of the most attractive glass signs the 



THE EXPERT SIGN PAINTER 153 

artist is capable of. The work may be done in va- 
rious ways, as follows : 

Acid Embossed. — By this method the glass must 
be loose, and then it can be laid on the table and em- 
bossed as directed for glass embossing, which see. 
The glass is coated with asphaltum to protect the 
parts that are not to be embossed, only the centers 
or middle parts of the letters being left exposed, and 
when the acid has been on say an half-hour it will 
have dulled the surface, using hydrofluoric acid. 
Now remove the asphaltum with turpentine and a 
rag or brush, and make the glass perfectly clean. 
Now size with a water size, as for glass gilding, which 
see, and lay the leaf over the embossed part and 
around same for say a quarter-inch, this to form the 
burnished line around the letters. Wnen dry back up 
the bright gold part with red lead and gold size, and 
when this is hard-dry remove surplus leaf from 
around the letters. Burnish the leaf as usual, on the 
bright gilding. The middles will appear dull or matt. 

Another method is to trace in the letters with a 
weak form of white acid, which will slightly roughen 
the glass. The glass is washed and dried and sized 
with water size, and leaf is laid as directed in the 
foregoing method. Then the whole letter is backed 
up with red lead and japan gold size, or any good 
backing you may prefer. This applies to the first 
formula also, and in both cases the entire letter is 
backed up. 

Varnished Center. — For window lettering, where 
the glass cannot of course be removed, the varnished 
center letter is used. The lettering is laid out as 
usual in glass gilding, and then varnish is used for let- 
tering with, leaving a margin around the letters un- 
varnished, for the burnished gilding. Some apply a 



154 THE EXPERT SIGN PAINTER 

thin coat of whiting and water to the inside of the 
e^lass, and form the letters after the whiting is dry, 
fining in the centers or middle parts with the var- 
nish. A good way is to dampen a small soft sponge 
and rub the whiting on. The varnish may be a light 
colored slow rubbing varnish. When the varnish is 
dry, clean off the whiting and make the glass per- 
fectly clean and bright. Use a cameFs hair lettering 
pencil for applying the varnish, adding a trifle of tube 
white to the varnish. Thin the mass with turpentine 
to the required consistency, and do not thin it as you 
use it. \Mien the varnish is dry it will have tack suf- 
ficient to take leaf. But water size must be applied 
to the work, for the bright parts. It is best to let 
the varnish dry a day before gilding, but it can be 
done the same day if necessary. 

The gilding covers the matt middle and a margin 
that is to be burnished. Double leafing is best. Back 
up as usual. Then you can also place an edging of 
Prussian blue around the letters, to make them more 
attractive, and also next to this line you may run a 
line of light blue, red, or orange. These colors may 
be mixed in spar varnish. But do this edging after 
the varnishing of centers, before gilding. After fin- 
ishing everything else and all is sufficiently dry, which 
takes about three days, varnish the letters with spar 
varnish, allowing it to extend an eighth of an inch 
beyond the letters, on to the glass. This will pro- 
tect the edges. 

For small jobs that are to be gotten out in a hurry, 
use Damar varnish, or mastic varnish, adding a little 
zinc white, dry. Copal or any good varnish will an- 
swer also. 

Have enough color thinned in the cup for the job 
and do not thin it as usual for lettering. Use camel's 
hair pencil for light weight colors, like the blacks. 



THE EXPERT SIGN PAINTER 155 

etc., but use a stiffer hair for heavy colors, Hke ver- 
mihon, etc. 

When you have large letters to do. say over a foot 
high, gild the outline first, then back it up and clean 
off surplus leaf. Then put in the varnish center; let 
it dry, then gild. 



156 THE EXPERT SIGN PAINTER 




CHAPTER XXVI. 

Water Sizes Used in Glass Gilding. 

ARIOUS substances are employed in mak- 
ing* water size for glass gilding, some 
having strong" adhesive powers, while 
others are very weak. We have known 
of water alone being used, though of course the leaf 
could not be at all permanent when fastened by a 
size which when dry is utterly absent. In this case, 
say those who pretend to believe in it, the pressure 
of the atmosphere will hold the leaf fast, but this is 
too absurd for belief. Some use ordinary white glue, 
others gelatine. Mr. Charles Strong, one of the best 
known sign artists, saying that the chief merit of 
glue is its handiness, but that gelatine is equally 
handy, ''and attended with infinitely better results." 
He adds that ''isinglass has met with the concurrence 
of at least nine-tenths of the trade." The Coast Man- 
ual, a sign painter's book published in California 
about the year 1907, tells the reader to take four 
empty quinine capsules to the pint of water, and we 
find others using the same thing. Surely its use is 
not to be commended on the score of handiness. Nor 
should the matter of mere handiness be considered at 
all, where a good job is in hand. Of which I shall 
speak at length further on. 

A sign painter writes me that he uses gum acacia, 
five grains to the ounce of distilled water. He adds 
that lie uses this size "very sparingly," and no won- 
der, for it is simply gum Arabic, and would have to 
be used that wav. He tells me that he has done signs 



THE EXPERT SIGN PAINTER 157 

with this size that have stood for twenty years, the 
gold retaining its lustre unimpaired. He backs up 
with gold size, tinged with chrome yellow to a golden 
color, then gives a coat of Naples yellow, applied 
quite heavy. He does not advise this size for all 
grades of work, but has found it ''useful, inexpensive 
and permanent." If this is so, then why not use it for 
all grades of work? 

Russian Isinglass. — This substance is derived from 
the swimming bladder of the various species of Aci- 
penser, of which family the sturgeon is perhaps the 
best known to us, being very abundant in the Atlan- 
tic and adjacent waters. A larger size of this fish in- 
habits the Caspian and Black seas. The isinglass, 
as we call this dried bladder, is very tough, and re- 
quires boiling for some time in order to reduce it to 
a proper condition for water sizing, and even long- 
continued boiling often fails to entirely reduce it. 
The fact that hard boilingf is necessary to reduce 
it to a size would seem to indicate that when again 
dried out, as a size under the gold leaf, it would be 
quite impossible for water, particularly if cold, to 
affect it, and this indeed is w^hat we find in exper- 
ience. It makes the most durable size for gilding 
that we use. Some say that it should be boiled for 
five minutes, but this depends. Others advise boiling 
it rapidly for thirty seconds (a book for sign painters, 
the title of which I have forgotten, tells us this). It 
is probable that the writer had in mind gelatine or 
American isinglass. One minute is enough for 
French gelatine, a very good article, as it really re- 
quires only hot water to cause melting. 

The amount of Russian isinglass to use with water 
is not a fixed matter, some using one square inch, 
others advising a piece the size of a dime, still others 
the size of a postage stamp, and so on. As a matter 



158 THE EXPERT SIGN PAINTER 

of fact, it requires extremely little, and so little that 
it is not easy to say just how weak the size may be 
and still be on the safe side. Experience with it is 
the best guide. 

American Isinglass. — This also comes from the 
air bladder of a fish, the hake or sturgeon, but it is 
entirely different in appearance and melts very read- 
ily in hot water. The air bladders are collected in 
the summer and fall along the coast of Maine, New 
Brunswick, Nova Scotia and Prince Edward's Island. 
In the winter this is made up into ribbons and the 
material looks like tissue paper, crinkled. It is cut 
iiito short lengths and tied in small bundles. The 
bladders are treated by a certain process and run be- 
tween rolls that are kept cold with ice water. This 
isinglass is simply a glue or gelatin, and thousands 
of pounds of it are made and used annually. A price 
list at hand places this isinglass at 80 cents a pound, 
while the Russian article is listed at $3.50 the pound. 

The Word Isinglass. — It is said that the word 
isinglass is derived from the words icing and glass, 
both of which have reference to the appearance of 
gelatin, but some writers on sign painting errone- 
ously state that the reference is to the mineral, mica, 
which the gelatin isinglass they say resembles. The 
word isinglass properly refers to the gelatin, not to 
mica, though the latter is almost always called isin- 
glass. As it is, the word isinglass now may mean 
either the fish gelatin or the mineral mica, and it 
would seem to be better to call each and both by 
more proper names, fish glue and mica. 

Preparing Isinglass Size. — It is very essential to 
have the vessel in which isinglass is boiled or pre- 
pared perfectly clean, grease especially being injur- 
ious, and everything connected with the preparation 
and use of the gelatin must be absolutely clean. Use 



THE EXPERT SIGN PAINTER 159 

pure, soft water, distilled water being the best, and 
this may easily be obtained, either from the druggist, 
or from the teakettle, by conveying the steam from 
its spout through a tin tube into a suitable vessel, so 
that the steam may not escape from it, but be con- 
fined and allowed to condense, which will be facilitat- 
ed by immersing the condensing vessel in cold water. 
Clear rain water, filtered, is very good, and any soft 
water will do if clean. As stated, the amount of gela- 
tin or isinglass to the pint of water may be anywhere 
from the size of a dime to that of a postage stamp. 
Russian isinglass being the stronger will give result 
with very much smaller piece. Some expert sign 
painters use and advise the addition of alcohol to the 
size, some advocating as much as half and half water 
and spirits, while others, equally expert, condemn the 
use of the alcohol entirely, saying that it serves no 
useful purpose, unless it be to overcome any grease 
there may be in the size, and of course when prop- 
erly prepared the size will not have any grease in it. 
It is probable that the alcohol gives a clearer and 
thinner size, without weakening it. It is well to ex- 
periment with it, and so determine its true value in 
the size. 

A porcelain cup is good for boiling the isinglass 
in, or bright tin, and by breaking the isinglass into 
small bits its dissolution will be helped. Whether 
you add the bit of isinglass to a pint or half-pint of 
water, some using the latter quantity, it should be 
well boiled, and afterwards well diluted with clean 
soft water. Experiment will determine just how 
weak the size may be used and hold the gold fast. 
If when the leaf is dry it is difificult to rub of¥, the size 
is strong enough. If it be easily rubbed ofif, then the 
size is too weak. Again, if the leaf shows cloudy, 
1? eking the good lustre, then the size is too strong. 



160 THE EXPERT SIGN PAINTER 

The weak size gives the best lustre. But it must be 
strong enough to hold the leaf well. After boiling, 
the size must be strained through silk, an old silk 
handkerchief answering the purpose; but do not 
strain it until it has become cool. Filtering through 
blotting or filter paper two or three times will give 
the best results, as this will remove every vestige of 
undissolved matter. The size readily spoils, being an 
animal glue, hence it should be prepared fresh each 
day or time that it is to be used. This is one and per- 
haps the principal reason why most sign painters pre- 
fer other than Russian isinglass, the latter is not so 
"handy" to prepare. French and American gelatin 
can be made ready for use by pouring boiling water 
over it, and this is desirable when a rush order comes 
in, it can be prepared in a minute and is very much 
less expensive than the Russian article. Of these 
gelatins one may use a very large piece to the pint 
of water, some say a piece two inches square. 

Creeping of Size on Glass. — When this occurs it 
indicates the presence of grease on the glass, and 
hence the glass must be cleaned off and be made per- 
fectly clean, as directed in another place. Finish by 
cleaning with alcohol, and if this does not cure the 
trouble, then make new size, and see that everything 
i:.; clean before beginning. 



THE EXPERT SIGN PAINTER 161 




CHAPTER XXVII. 

Glass Signs With Pearl Leaf Enrichment. 

HE irridescent hues of pearl leaf, changing 
with every change of light and the posi- 
tion of the spectator, are very beautiful, 
and it was a happy thought that prompt- 
ed some unknown sign artist to employ it in the 
making of fancy glass signs. Who he was probably 
is unknown, but he deserves better of fame than this. 
A generation ago pearl settings in glass signs were 
much more common than now, and some of the finest 
glass sign work was done on bank windows, with 
matt and burnished gilding, and always pearl centers 
and ornamentation. Pearl admits of being set off by 
brilliant colors, and black is frequently used for a foil, 
making the brilliant colors appear to still better ad- 
vantage. 

Pearl comes in thin sheets, these being known as 
Aurora and Snail, the latter being the handsomest 
looking, as it reflects in either a concave or convex 
position, according to the side that is presented to 
the eye. In cutting- the pearl to fit the spaces there 
will be some small pieces left, and these may be used 
ir filling around the larger pieces. If any ornamen- 
tation is to be done, these small bits can be used to 
advantage there. The rest of the filling-in may be 
carried out with bits in irregular sizes, according to 
the spaces that are to be filled. 

In making this sign the parallel lines are first 
drawn with a piece of hard soap, pointed. If the 
pearl is to be outlined in gold, the same course is fol- 



162 THE EXPERT SIGN PAINTER 

lowed as in ordinary glass gilding. The space where 
the gold is to show is indicated with black on the 
reverse side of the glass. The varnish used for fixing 
the pearl may be either pure mastic, pale quick dry- 
ing, or a mixture of one-third copal varnish and two- 
thirds of Canada balsam. Damar varnish also is 
used. Apply the varnish to the opening, doing only 
as much space at a time as will allow you to hx the 
pearl before the varnish has set too much. Let the 
varnish extend a little beyond the letters. 

Be it remembered that the gilding is done first. 
After that has dried and been linished, set the pearl 
Cut the pearl in pieces to fit the space, fitting the leaf 
close together, and a file is useful here, in giving the 
leaf clean edges. Use a pair of scissors for cutting 
the leaf. It is usual with some sign painters to first 
cut out of tin the shape the filling is to be, or the let- 
ters, and thus there is not as much waste as when you 
cut to fit the sign letters on the glass. Place the 
pieces on the tin letter, on the table, as they are to be 
on the sign, and arrange the pieces as far as possible 
so that the light will be thrown off in one direction 
only. Also place with convex side up. Then size 
each piece as you take it up, and place it on the 
opening in the letter, in its proper position. Press 
it down hard. This will cause excess size to squeeze 
out from under the leaf, and the less size there is be- 
tween the glasj and leaf the brighter the leaf will 
show. Yet enough varnish must adhere to secure 
proper fastening. Use a stiff, short hair bristle brush 
for applying the size to the leaf. Try to get a har- 
mony and uniformity of pieces as you lay them. 

Any openings left unfilled may now be filled in with 
the small bits, and if these do not cover all the spaces, 
then dust on some of the finest of the leaf, and if 
there is still some openings, this is well, as it will 



THE EXPERT SIGN PAINTER 163 

allow the ground to show through. Aluminum 
bronze paint makes a good coating over the leaf, to 
fill in open spaces. Or sift on, if the size will take it. 
The ground color applied over the pearl work 
when done is rather heavy, making a pearl gray lead 
paint, using japan, turpentine, and onlv a very little 
oil. 

The sides of the letters may then be shaded, if de- 
siied, and scrolls and ornaments may also be put in. 
^ A\''hen setting the pearl leaf the workman will from 
time to time reverse the glass, to note effect of his 
work, and will if necessary change the position of his 
pieces. 

Most deep and bright colors assort well with pearl 
for borders, or letter shading, much depending, 
where several are used, on the order in which they 
follow each other, as greens with darker greens, reds 
with browns, purple yellow with brown purple,' etc., 
these being carefully blended; white also looks' well.' 




164 THE EXPERT SIGN PAINTER 

CHAPlER XXVIII. 
Glass Signs By the Transfer Process. 

HERE a number of glass signs of the same 
pattern are to be turned out, the follow- 
ing process, described by J. H. VanDyne 
in Signs of the Times, will be found useful. 
Take a piece of plate glass, highly polished, and 
cut in your sign copy on the glass, backward, with 
asphaltum, or use the foil process. After neatly cut- 
ting in with asphaltum or cutting out of tinfoil, put 
on your acid and etch the glass to a depth of about 
three times as much as for an ordinary embossing, 
say, about 1-32 of an inch. When this is done, clean 
your glass. Now comes a transfer process, which is 
applicable for embossing and for backing up gilding, 
either solid or outhne, and for producing outline 
work of the very finest nature. We presume you 
have your lettering or design etched on the glass and 
ready for the transfer. Make a preparation of dry 
lampblack or ivor}^ black and beeswax, tallow, japan 
drier and asphaltum gum. Melt the wax, tallow and 
asphaltum separately, and when in liquid condition 
mix together with the dry black and japan drier, 
keeping it hot the while. Any color can be made by 
substituting the desired coloring matter for the 
black, but black is mostlv used. When this is cold it 
should be of the consistency of soft putty, and is 
ready to work. Have a large, wide-bladed knife, 
about six inches wide and absolutely straight on its 
edge, not sharp, but perfectly straight and smooth, 
also a hand brush about two inches wide and four 
inches long, with fine bristles about three-quarters of 



THE EXPERT SIGN PAINTER 165 

an inch long, and trimmed perfectly level, so that 
when you lay it on a ^lass every bristle end will touch 
the glass. Now some fine tissue paper, in sheets the 
size of the glass, and a bowl of water with a sponge 
in it. Now proceed to transfer. Place your etched 
glass on a table with the pot of color at your right. 
Take color paste on knife and spread it on etched 
plate, filling all the letters (same as an engraver fills 
his work), clean off all paste from the surface of 
etched glass with the straight edge of spreading 
knife. Then lay a sheet of tissue paper on the glass 
which you have just filled with the paste and take a 
hand brush and rub the paper into the black paste. 
Now take the^ glass upon which you are going to put 
the transfer and lay it flat to the left of your other 
work. Now take hold of the two corners (two end 
corners best) and lift the paper from the etched glass 
and (if the paste is properly mixed) it will draw every 
particle of the paste from the etched glass and show 
a neat printed impression of the paper. Lay the 
paper on the other glass at your left and rub it down 
on that glass with your hand brush, occasionally lift- 
ing your elass to see if it is working all right (in 
backing up gilding you can not do this). When sat- 
isfied it is all right, wet the paper with sponge and 
water, saturating the paper, and pull it off by lifting 
it from the corners, and your black paste is on the 
other glass. Set it away to dry i8 to 24 hours. 

This process is used for cutting in letters, designs, 
etc., for embossing with acid. It is used for backing 
up gold or silver leaf, either a solid letter or outline 
letter. It is used lettering on glass in colors, such as 
red, green, brown, blue, black, etc., and with tinted 
or tinsel back grounds. 

The preparation will dry hard enough to rub 
roughly in twenty-four hours. 



166 THE EXPERT SIGN PAINTER 

In mixing the color paste, judg-nient in the quanti- 
ties of the ingredients must take'^in temperature, sea- 
son of the year and locahty. A Httle experience over- 
comes these difficulties. 

While writing this information about the process at 
least 25 signs could be transferred or printed. 



THE EXPERT SIGN PAINTER 167 




CHAPTER XXIX. 

Painting Signs on Glass. 

OLD AND PAINT SIGNS.— These signs 
can be made with the letters shaded or with- 
out. I would prefer the plain letters, with 
a black background. Now in regard to 
painting the sign, use plate glass for outside 
use ; sheet glass will do for signs that are intended for 
indoor use. 

First get everything ready before you begin painting 
the sign ; that is, I mean your frame made and the glass 
fitted, etc. Use oak for making the frames out of, say 
3x1 inches. The sign is attached to the front of the 
frame ; let the glass down in the frame by grooving out ; 
let it in say about one-half inch. You will want the 
groove deeper than the sign is thick, so when the sign 
is ready to go on the frame you can put putty in this 
groove to keep the water from getting on the back of 
the sign. Now, after you have made the frame to fit 
the glass, drill the holes in the glass. Use brass screws 
to fasten the glass to the frame. After you have every- 
thing fitted, the next thing is the painting. Never use 
any color that has oil in it. Use only colors that are 
ground in japan. Lay out your design on the front 
of the glass ; if you have more than one sign to make of 
the same design, it is best to make a design on wrapping 
paper and trace the letters, using a pouncing-bag to 
pounce vour design on the glass. 

I find this always the best if you have more than one 
sign of the same kind to make. Use a little varnish in 



168 THE EXPERT SIGN PAINTER 

your color. This will prevent it from drying too' fast. 
Be sure that the glass is perfectly clean; use whiting 
and water, and after rinsing use tissue paper to dry off 
with. After you have cut out your design, let it dry 
hard before gilding, say two days. Now after gilding 
and all patching is done, put two more coats of size 
over the letters and give plenty of time for drying be- 
tween coats. You will now be ready for the backing. 
First use a ccat of good varnish, to which add a little 
chrome yellow. After this is dry put the finishing coats 
on. Make your finishing as follows : Use keg lead 
mixed with japan and rubbing varnish ; add a small 
quantity of chrome yellow and thin with turpentine. 
Now put two heavy coats all over the back of the sign, 
allowing plenty of time between each coat to dry hard. 
When the sign is dry, attach it to your frame. For a 
door sign attach the frame to a drum. A sign made 
this way will always look good and last a great many 
years. 

White Letters on Glass. — White paint will look 
more or less yellow on glass, and to make it appear as 
white as possible use flake white in tubes, and give as 
many coats as will make a dense color. Same with 
common white lead, if you use it. Zinc is white, but it 
lacks covering power, and is brittle. Shading or out- 
lining with black or other dark color enhances the 
white effect. Do the outlining first, whether with 
color or gold, and fill in with white. Silver, nickel or 
aluminum will make a better white letter, and if backed 
up solid will show up at night as black lettering. 

White Letters on a Red Ground. — For a trans- 
parency sign, to serve by night, white letters on a red 
ground first make the glass as clean as 3'Ou would for 
glass gilding. Take a sheet of glass the same size as 
the one you are to do, and cover it wnth tin foil; if not 



THE EXPERT SIGN PAINTER 169 

convenient to have glass, take any suitable material, say 
a board, of same size. Smooth out the foil on this, and 
apply a coat of varnish, then give the surface of the 
sign glass a coat of the same material. Let both sur- 
faces stand until nearly dry, then take the foil and lay it 
on the sign glass. Then cut out the letters that are to 
appear on the sign, leaving them remain and removing 
the rest of the foil. Then clean up the glass, and give 
two or three coats of red paint. Any other color will 
do if desired. Be sure that the paint makes an opaque 
surface. When the paint is dry remove the foil letters 
and stipple the clear letter spaces with white paint, 
made stiff with turpentine, and pounce it on, as in win- 
dow frosting. 

Transparent Color For Glass. — For blue, take 
Prussian blue; for red, crimson lake; for yellow, In- 
dian yellow ; for brown, burnt sienna ; for black, lamp- 
black, and so on for other colors. These should be 
rubbed into a size made as follows : Venice turpentine, 
two ounces ; oil of turpentine, one ounce. Apply with 
a brush. Fine and brilliant colors are sometimes ob- 
tained bv dissolving aniline dyes in white shellac var- 
nish; but the objection to these is that they are very un- 
stable,^ and consequently do not always give the best 
of satisfaction. 



170 THE EXPERT SIGN PAINTER 




CHAPTER XXX. 
Embossing on Glass. 

LASS varies in composition, hence it is best 
to try the acid on a piece of the same glass 
before beginning the work in hand. If 
this is not possible or convenient, then try 
it out on the job, until you get the right strength of 
acid. Plate glass is better than window glass for em- 
bossing on, but for experimental purposes bits of broken 
glass may be used, and may be procured for little or 
nothing of the glass dealer. The work must be done 
on a level and firm table or work bench. Have some 
small wooden wedges for placing under the glass, to 
level it if necessary. 

Th plate glass must tirst be made perfectly clean, 
with soda water, washing and rinsing, then wiping dry 
with a chamois, after which rub to a polish wnth tissue 
paper or silk Absolute cleanliness is necessary at 
every step of the work. 

Prepare the lay-out or inscription on paper, which is 
placed beneath the glass. Use the best asphaltum var- 
nish for filling in around the letters, thinning wnth a lit- 
tle turpentine and some driers to dry and harden the 
varnish, which is called the ''resist," as it resists the 
acid. Common asphaltum will not be safe ; ask for the 
very best. After you have carefully filled in the plate, 
leaving the letter spaces bare, let it dry, which will re- 
quire say a day, to be sure, then examine it for pin- 
holes, or other defects in the covering, and if any are 
found apply another coat. Tt is, in fact, always safest 



THE EXPERT SIGN PAINTER 171 

to apply two coats, and to let it have one or even tv^o 
days to harden in, as more trouble comes from insuffi- 
cient hardening than almost anything else outside of 
grease and poor resist. 

The letters may be trued up with a chisel, but this 
ought to be done before the varnish gets too hard or 
brittle, in the latter case it v^ould chip. By being very 
careful v^hen cutting in the letters and making all lines 
perfectly true no truing up v^ill be necessary. The 
cleaner and sharper you make the lines the finer job 
you v^ill have. 

When the resist has had ample time to become hard- 
dry in, lay the glass again on the table, leveled up true 
and made firm there. Nov^ make a dam about half an 
inch high all around the edges of the glass, using bees- 
v^ax with a little asphaltum in it, to make it more plia- 
ble, and be sure that you make the dam perfectly 
water-tight. See also that the plate is free from dust 
or other foreign substance. 

The acid used in embossing on glass is called hydro- 
fluoric, and its fumes are fierce, attacking the membrane- 
ous lining of the nose and throat; so that the work is 
best done where the fumes will be drawn up and away, 
as under a specially prepared ventilator, or at a window, 
or in the open, anwhere that is feasible for doing the 
work and where there is plenty of free air. 

The acid should be diluted a little with water, for if 
too strong it is apt to cause a ragged effect on the 
edges of the letters, and if too weak it will not eat fast 
enough. It is always best to test the acid on a piece of 
the same glass, when con\'enient to do so, and the same 
with the resist, or asphaltum, testing it for durability 
under the acid. 

A satisfactory embossing should be accomplished 
in about twenty minutes; it should have an icy glare. 



172 THE EXPERT SIGN PAINTER 

Pour out the acid on to the plate until of about one- 
fourth inch in depth, covering the surface of the work 
completely. Stir the fluid occasionally, rocking it 
gently, and after about twenty minutes tilt the plate a 
little, so that you may see how the work is progressing. 
It only needs to have the mere face of the glass af- 
fected by the acid, for it is to be gilded, and the pur- 
pose of the embossing, so-called, is to make a matt or 
dead surface under the gold. Now, if the work ap- 
pears to be done, break away a corner of the dam, and 
pour off the acid ,into another vessel, not into the one 
you got it out of ; the idea being to keep them separate, 
using the old next time, and adding some fresh acid to 
it. Then wash the plate in running water, examine it 
for defects, and if any are present they must be reme- 
died by re-coating the defective parts and giving it 
another acid bath. If, however, the work is well done, 
then remove the wax and put it awav for future use. 
Wash off the asphaltum with benzine or turpentine, 
and clean up with same. Wash then with soda water, 
rinse, and wipe and make dry. It is now ready for 
gilding. 

There are several ways of doing glass embossing 
with acid, some of which are described in this chapter. 
You may emboss the entire surface of the glass, then 
gild it all over, making it a matt gold surface. Letter- 
ing may be done on this matt surface. Or, after you 
have embossed the glass, paint in the letters, in black 
or other suitable color, then gild all over. This will 
show the letters with gold backing. 

The letters on the plain plate glass may have their 
centers made matt with acid, leaving a plain outline that 
may be gilded and burnished, the leaf on the middle 
part showing matt. The outlines of the letters may be 



THE EXPERT SIGN PAINTER 173 

edged with a very fine line, which will cause the letters 
to stand out. 

Fire-flashed glass, that which is colored only on the 
one side, may be lettered on the color side, with asphal- 
tum, then acid embossing the rest of the surface; this 
gives a lettering the color of the glass. Or this opera- 
tion may be reversed. 

Fancy Acid Embossing. — To make a pebble 
ground, cover the glass with small shot, as close as it is 
possible to lay them on the glass; put on your acid 
slowly, so as not to disarrange the shot; leave until the 
acid has cut through the polish of the glass ; remove acid 
and shot; wash with water. 

To produce a mottled ground, take a dry sponge and 
asphaltum; rub some asphaltum on a piece of glass 
with a soft brush; then dip your sponge in the as- 
phaltum which you have put on the piece of glass and 
just touch the glass you are working on with the sponge 
lightly, leaving a ragged spot ; repeat this process until 
your glass is covered to suit you; then apply an acid, 
and remove when sufficiently etched. 

To effect a waving ground, fill a pan large enough to 
lay your glass in, with water. (If you have no pan 
large enough, make one of enamel cloth.) Pour a 
few drops of asphaltum in the water; asphaltum, of 
course, will float; now, with a stick, stir the water 
around in different directions, and the asphaltum, float- 
ing on the water, will form in waves and curls ; when 
the water has become perfectly still, take your glass 
(perfectly clean) and just immerse it in the water and 
lift it out level and you will find the asphaltum is mostly 
on the glass ; let the asphaltum dry and then apply your 
acid ; add a little more asphaltum and stir the water for 
each succeeding glass. 



174 THE EXPERT SIGN PAINTER 

To produce a ground, pencil the glass with as- 
phaltuni, in imitation of the grain of oak, chestnut or 
ash, and when dry, put on your acid. 

To make a good plain ground, use emery sand in 
same way as shot for pebble ground. 

Ground glass, or frosting, as it is also called, may be 
imitated with white acid, which may be had ready for 
use, from any large drug house, or may be made from 
a mixture of three parts of barium sulphate, and one 
part of fluoride of ammonium, adding very carefully 
sufficient sulphuric acid to dissolve tlie ammonium and 
bring the mixture to the consistency of rich milk. This 
preparation must be made in a leaden vessel and be 
kept in a lead or gutta percha bottle. It is best to buy 
it ready made, as it comes in the sort of bottle de- 
scribed. With this fluid the very best effects are ob- 
tained in glass frosting or imitation of ground glass, 
and other fine effects may be obtained by embossing 
parts of the work with fluoric acid, which eats smooth, 
or by making parts matt with fluoride of ammonium 
slightly aciduated with acetic acid. Glass differs in com- 
position, so that the acids do not act always the same, 
but differ according to the kind of glass; lead glass is 
easily acted upon, and gives the best matt surface. With 
a plate of glass placed in a horizontal position and 
groats sprinkled over the surface (groats are broken 
grains of wheat), then pouring over the glass very di- 
lute fluoric acid, a very fine effect will be produced, the 
parts protected by the grains being raised, while the 
rest of the glass is matt. 

Chipped Glass Sign. — The commercial method for 
producing chipped glass is as follows: the design is 
drawn on manilla paper, and pasted on the glass; the 
parts that are to be acted upon are then cut out and re- 
moved from the glass. This must be done carefully. 



THE EXPERT SIGN PAINTER 175 

in order not to disturb the parts remaining. The 
glass is then laid flat under a wooden hopper, paper 
side up, when it is subjected to a sand blast, which em- 
bosses or roughens the unprotected parts, while not at- 
tacking the paper-protected parts. It is stated that a 
fall of ten feet will be sufficient to emboss the glass suf- 
ficiently, without any other force behind the sand. 
Now the glass is removed, and it and paper are coated 
with a strong glue size, made from noodle glue, and 
about as thick as ordinary varnish. This is allowed to 
dry at an ordinary warm temperature, and then the 
glass is set on edge in a rack, in a kiln, which is raised 
to a high temperature by means of a double row of gas 
jets near the floor. In the course of several hours the 
glue will have pulled off the face of the glass in irregu- 
lar chips, making it look like frosted work. Then the 
surplus glue is scraped off, and the paper soaked and 
scraped away with a palette knife. 

Chipping may be done in the paint shop by this 
method : Roughen the surface of the glass with sand 
and a flat piece of brass, for a rubber, or with a block or 
smooth piece of pumice stone, which will require but a 
short time to do. Then clean up and dry. Make a 
stout size with noodle glue, and apply as hot as the 
glass will bear without breaking. Now place the glass 
in an oven heated up to about 480 deg., F. In the 
course of a few hours the work will be done. 



176 THE EXPERT GIGN PAINTER 




CHAPTER XXXI. 

Imitation Frosting on Glass. 

HERE are many ways in which real acid 
etched or frosted glass may be imitated, 
and the purpose of the work will indicate 
just which particular kind of frosting 
should be used. 

To frost window glass, done usually to obscure the 
glass, daub the glass with a ball of fresh putty. 

Mix one part of beeswax with ten parts of turpen- 
tine, adding one part each of good varnish and japan 
driers. Stir well together, and daub on the glass with 
a wad of raw cotton. If color is desired, use the trans- 
parent pigments and lakes. 

To frost a glass background for a sign, mix some 
flake white with a little raw oil and gold size, and stip- 
ple it on. 

Dissolve some Epsom salts in gum i\rabic water, and 
apply to the glass ; this does better when the glass can 
be laid down flat. Pounce with a painter's duster or 
l)ristle brush. 

Mix lead acetate (sugar of lead) in a mixture of 
equal parts of damar varnish and turpentine ; stipple 
with this. 

Mix one part of dry white lead in a mixture of three- 
fourths parts of varnish and one-fourth part of turpen- 
tine. Add sugar of lead to dry it. Apply the frosting- 
very thin at first, using a broad brush and getting the 
mixture on as evenly as possible. 



THE EXPERT SIGN PAINTER 177 

This and similar coatings may be removed by a 
potash or lye solution, or by any paint remover. The 
Scientific American says it may be removed by a mix- 
ture of two parts of hydrochloric acid, two parts green 
vitriol, one part of blue vitriol, and one part gum 
Arabic, applied with a brush. 

Artificial frosting may be done with epsom salts 
(sulphate of magnesia), mixed with warm water to 
which some gum Arabic, a weak solution, has been 
added. The usual recipe calls for beer or ale, but these 
are not always easy to g*et, nor desirable. A mixture of 
vinegar and water, adding a little brown sugar, will do 
in place of the beer. Give the water all the salts that 
it will dissolve^ making what is called a saturated solu- 
tion. The glass will have to be laid flat on a table, to 
get the best results, applying the solution with a soft 
brush, in a moderately warm room, for the slower the 
drying the finer the crystalization. Press the frosting 
lightly with blotter paper, after it has stood a while, to 
absorb moisture, and when dry give it a coat of very 
light colored varnish, applied thin. Aniline dye may 
be added if color is wanted. 

A cheap temporary frosting may be made with two- 
thirds raw oil to one-third pale japan mixed with whit- 
ing to a paste, then thinned with turpentine and applied 
with a soft brush. Then with a ball of cotton wool in 
a piece of cotton rag daub the frosted glass uniformly 
all over. 

Clear Letters On Frosted Glass. — A simple and 
cleanly method is to first rub over the outside of the 
square with a little whiting and water, and set out the 
letters by marking the lines and letters with a pencil 
stick on the whiting as a guide, then outline the letters 
in black, brown, or gold ; when this is dry and hard the 
frosting may be done, and whilst it is wet wipe off the 



178 THE EXPERT SIGN PAINTER 

inside of the outline; this makes a sharp, clean and 
readable job. Another method by which the effect is 
sometimes gained is to use paper letters slightly gum- 
med on one side, wetted, and placed in the position on 
the glass they are to occupy, being previously set out 
upon paper, or on the above method, as a guide to place 
the paper letters. When the whole of the letters are 
placed and dry the frosting may be done, going over 
the paper letters as well as the other parts. The frost- 
ing should be allowed to dry quite hard. When this is 
the case, we take a damp sponge and wet the back of the 
letter ; the water will penetrate the paper and soften the 
gum, and the letters will peel off the glass, and leave the 
letters sharp and clean cut, care being taken that the 
frosting is sufficiently hard. Another plan is to cut 
a stencil of the letters out of ordinary cartridge paper — 
the thin paper is the best — then frost the window all 
over, and let it get nearly dry ; we then place the stencil 
upon the frosting, and secure it at the sides all around ; 
we thjn carefully use a stencil brush, and, holding the 
paper flat to the glass with one hand, brush out the 
frosting from the letters through the openings in the 
stencil paper. This method requires very great care 
to be used, or else the paper will break up the frosting ; 
for this and other reasons we prefer to use the outline 
method of doing the work, as it is in the end the 
quickest and best. If the square of ^lass can be taken 
out of its place to be done ,or another clear square be 
used and glazed in against the one already in the win- 
dow, then we would recommend that the white acid 
should be used. 



THE EXPERT SIGN PAINTER 179 





BTllSn 



CHAPTER XXXII. 

Embossing a Brass Sign. 

HE BRASS PLATE.— The plate is polished 
on one side, and must be perfectly free 
from any dents or other imperfections. In 
thickness it is of i6 guage,or 1-16 inch, and 
the plate may be had in any size desired. The price is 
according to its weight, the charge being made by the 
pound ; as the price of brass varies from time to time, 
it cannot be definitely stated here. 

Cleaning The Plate. — As the plate will have 
more or less grease on its surface, from the handling of 
it, it must first be washed in sal soda water, made quite 
strong, after which rinse in clear water and rub dry. 
This is important, as any grease left on the plate will 
result in bad work. 

Making The Lay-Out or Design. — Draw the de- 
sign carefully on paper, with a lead pencil, then place a 
sheet of carbon tracing paper on the brass plate, black 
side down, lay the design on this, face up, then with a 
hard pointed lead pencil trace the design or lettering, 
and this will transfer it to the plate. In making the 
design allow plenty of margin around it, and do not 
crowd the letters, neither spread them out unduly. 

Placing The Plate For Work. — Place the plate 
on a solid table, one that is perfectly level, or if this is 
not entirely obtainable, then have some little wedges to 
level up the plate with. As the acid fumes are highly 
injurious to the linings of the nose and throat, it is 
well to provide for their escape into the open air, as at a 



180 THE EXPERT SIGN PAINTER 

window, or in any airy building: in any case avoid in- 
haling them. 

Painting In The Design. — Before placing the plate 
in position on the table paint in the design. This is 
done with asphaltum varnish of the best quality, Syr- 
ian, if possible. Some use a mixture made as follows : 
Take one pint of the best asphaltum varnish, two 
ounces of beeswax melted in Venice turpentine, and 
one-half ounce of rosin ; heat the mass over a slow fire. 
If the asphaltum alone is used then add to it a little 
good japan driers, to make it dry better and harder. 
Thin to a working consistency with turpentiae. Let it 
dry 24 hours, then apply another coat, w^hich allow to 
ary for 48 hours. It is important to let the coating 
become quite dry, for if not so it is apt to curl up under 
the action of the acid. Two coats are better than one, 
because in the first coat you may miss some tiny places, 
which the second coat will be apt to cover, making a 
solid coating. This coating protects the plate where 
the acid is not desired to act. Make this coating as 
thick as you can readily brush on. 

AIaking The Dam. — Make a dam of beeswax to 
which add a little asphaltum, to make it easier to ma- 
nipulate, and place this around the edges of the plate, 
about an inch or less in height, pressing it carefully 
with the fingers, so that it will be perfectly water-tight. 

The Embossing Fluid. — This is made from one 
part of nitric acid and three parts of water, but it is 
ahvays best to try the fluid on a bit of brass before using 
it on the sign plate, for the strength of nitric acid may 
vary, so that by seeing just how it acts on a small piece 
of plate you can better tell about its probable action on 
the sign plate. If too strong weaken with water ; if too 
weak, add a little more acid. If the fluid is too strong 
it will eat too fast, causing ragged edges to the work, 



THE EXPERT SIGN PaJNTER 181 

while if too weak it will not work fast enough. From 
a few hours up to a dozen or more may be required, 
but in any case when the acid has eaten to the depth of 
one-hilf the thickness of the plate it should be poured 
off. Pour on to the depth of one-fourth inch, and 
watch its action, gently stirring the fluid from time to 
time, using a feather or small whisk. Also, give the 
plate a gentle rock once in a while, to disturb the 
fluid, as it becomes weak where most actively eating the 
brass. Never pour more acid on, but if necessary pour 
off the fluid and strengthen it with more acid mixed in 
a vessel. With a pin try the letters once in a while, to 
see how deep the embossing is. 

Another Method of Embossing. — Coat the plate 
with the mixture of best asphaltum one pint, two 
ounces of beeswax melted in a little Venice turpentine, 
and one-half ounce of rosin, all heated to melting over 
a slow fire. Apply a good coating of this, and when it 
has acquired a right tack lay on it a sheet of lead foil, 
which press firmly and evenly on to the plate. Now 
put on the inscription, by pouncing or otherwise, and 
then, with a stick having a sewing needle fastened to it, 
cut out the letters, raising the cut-out foil and removing 
it carefully. Now remove the exposed size from the 
plate with turpentine, rub it all off clean, and polish the 
brass. Then emboss with nitric acid as directed in the 
other case. When the acid has done its work pour it 
off and wash off the plate, then remove the remaining 
foil. 

Another and Newer Method. — Not having re- 
ceived any advice as to the practicability of this pro- 
cess, from sign painters, and not having tried it myself, 
though it has been recommended by the head of the 
lettering department of a well known correspondence 
school, it is given for what it is worth. It is easily 



182 THE EXPERT SIGN PAINTER 

tried out. Coat the brass plate all over, as usual, with 
asphaltum, let it dry, then paint in the lettering with or- 
dinary oil paint, which will soften up the asphaltum, and 
then it may easily be removed by rubbing with very 
tine whiting, tiiat has no grit. 

Cleaning Up After Embossing. — After the acid 
has done its work break away a corner of the dam, and 
pour off the liquid into a vessel, then wash the plate in 
clear water, doing this very thoroughly, to remove all 
traces of acid. Then remove the dam, preserving it 
for further use, then clean off the asphaltum with tur- 
pentine or benzine, make the plate perfectly clean, after 
which comes the filling in of the letters. 

Filling In The Letters. — The embossed parts are 
now to be filled in with a cement, for which there are 
several formulas, as follows : 

No. I — Add boiled oil to dry ivory drop black to 
form a paste, adding also some sugar of lead (lead 
acetate). 

No. 2 — Add dry drop black to best asphaltum gum, 
hard drying body varnish, and best coach japan. 
Heat and melt together. Use equal parts of above in- 
gredients. 

No. 3 — Shellac varnish 50 parts, turpentine 10 parts, 
pulverized chalk 40 parts, dry lampblack 12 parts. 
Form into a paste or putty. 

No. 4 — Melt together equal parts of gutta percha 
and the best asphaltum gum in an iron pot, and add to 
this one-fourth of the bulk of the two ingredients of 
pulverized shellac. The shellac may be placed in a 
small bag and hammered until pulverized. Fill the em- 
bossed parts with the mass while hot. 

No. 5 — Mix together, in a dry state Manilla copal 
gum and gum sandarach, equal parts of each, adding a 
little nigrosine, an aniline black, and enough sweet oil 



THE EXPERT SIGN PAINTER 183 

to form into a paste. Drop the oil into the mass very 
gradually. Press this into the embossed parts with a 
spatula, being careful not to mar the plate ; it is best to 
use a celluloid paper knife. 

No. 6 — If the embossing is very shallow you can fill 
in with black baking japan, placing the plate in a hot 
oven, one that will bake bread will do, and bake the 
japan in. 

No. 7 — Take four ounces each of best gum as- 
phaltimi, brown shellac, and dry lampblack, pulverize 
the gums, then add the lampblack, mixing all together. 
This may be melted over a slow fire, or it may be placed 
dry on the embossing and the plate having been made 
hot the mass will melt there. Let the same become 
cold, having filled the embossing surface-full, then pass 
a hot iron over the work, which will glaze the surface 
and level it, producing a very fine effect. When cool 
again scrape away the surplus cement carfully, wash 
the plate off with water, to which add some oxalic acid, 
wash in clear water, then polish with raw cotton and 
dry ivory black. 

White Cement. — Filling with white cement is 
done the same as with black, only the cement is made 
differently, as follows To equal parts of the best coach 
japan and rubbing varnish add dry zinc white, and 
work the mass to a putty. Fill in the embossing with 
this, not quite full, however, though almost full to the 
level, leaving room only for the coating of flake white 
ground in japan, thinned with turpentine to a proper 
consistency, and apply this with a soft pencil or brush. 
When this has become hard-dry polish it with a soft 
cloth, by gently rubbing it. 

General Remarks. — Use the simplest formula that 
will do the work satisfactorily for you, and carefully 
observe proportions of ingredients and their manipula- 



184 THE EXPERT SIGN PAINTER 

tion. Press the cement carefully into the embossing, 
using a celluloid knife to prevent injuring the brass, 
and passing a heated iron over the filled surface will 
give it a brilliancy not otherwise obtainable ; if this pol- 
ish is not desired, then omit the heat. Clean off the 
surplus cement, and clean up the plate with a rag 
dampened with turpentine or benzine, then wash with 
oxalic water, dry, then rub to a polish with a dry rag 
and dry drop black. Use only the best imported as- 
phaltum, gum or varnish. There is some asphaltum 
that cannot be used at all for this kind of work, that 
from our own country being of this sort. 

Nitric Acid. — This acid will eat brass, copper, zinc, 
etc. It will not aft'ect glass, hence may be kept in a 
glass bottle, well stoppered. It is a highly corrosive 
fluid, colorless, and has tlie chemical formula HNO:;. 
Found in nature to a limited extent, it is obtained for 
commercial use by manufacture. Chemically, nitric 
acid is a compound of hydrogen in which all or a small 
part of the hydrogen may be exchanged for a metal or 
a basic radical, forming a new compound. Thus, 
nitric acid is derived from the decomposition of sodium 
or potassium with sulphuric acid, the old-time aqua 
fortis or strong water. It is largely used in the arts 
for dissolving metals, as in the embossing of brass 
signs. It has no eft'ect on glass. The vessel containing 
nitric acid should be properly and conspicuously label- 
ed and kept where it cannot be had in mistake for any 
harmless fluid. It is a corrosive poison, and when 
taken internally causes corrosion and bleeding of the 
parts touched, followed by intense pain, then prostra- 
tion from shock. It will stain the face vellow, and the 
treatment is as follows : In one- fourth glass of water 
place a teaspoonful of whiting, chalk, or even lime 
scraped from a wall, then give a tablespoonful of castor 



THE EXPERT SIGN PAINTER 185 

oil and one-half pint of sweet oil. For nitric acid 
burns pour lime water over the burn, or sprinkle baking 
soda over it; that is the first thing to do. Then, to 
control the pain, let water run over the burn to remove 
the soda or lime, then apply some carron oil, which is a 
mixture of equal parts of olive oil, sweet oil or linseed 
oil and lime water. Bandage lightly. If the acid gets 
in the eye, apply lime water, followed later with liquid 
vaseline, to relieve the irritation. Let the patient re- 
main in a dark room. 

Coloring Brass Plates. — When it is desired to 
have the color of a brass sign plate different from its 
natural color we may proceed as follows : An orange 
tint inclining to gold may be produced upon brass, 
which must be highly polished, by plunging it for a 
few^ seconds in a warm solution of crystalized acetate of 
copper. A grayish-green may be produced by dipping 
the plate in a bath of copper. A beautiful violet color 
is produced by immersing the metal for an instant in a 
solution of chloride of antimony, and rubbing it with a 
stick covered with raw cotton.' The plate should be 
heated tO' a degree that will make it just tolerable to the 
touch. A moire effect is obtained by boiling the plate 
in a solution of sulphate of copper. 

Making Brass Plate Chocolate Color. — Take 
two tablespoonfuls of chrystallized verdigris and dis- 
solve in three half-pints of boiling water. Next dis- 
solve a piece of sal ammoniac about the size of a hulled 
walnut in three half-pints of water. Then pour the 
two solutions together and add three half-pints 
of the best vinegar. Boil well together and 
filter. The copper article should be well cleaned 
and polished before the application is made. 
A wineglassful of the mixture is then taken and a tea- 
spoonful of ammonium sulphide added to it immedi- 



186 THE EXPERT SIGN PAINTER 

ately before using. It is then applied with a hair brush 
and dried in an oven kept only moderately warm. To 
secure the uniform adhesion of the fluid a little rouge 
is added as a binder. Care should be taken to apply 
the liquid evenly and to dry slowly. From six to ten 
coats will be required, and with each application the pre- 
vious coating should be thoroughly covered to prevent 
spotting. After the last coat has dried in the article 
may be washed in warm water and then dried. The 
article should now be heated slowly, which will darken 
it considerably. If a darker color is required the paint- 
ing process must be repeated and the article again sub- 
jected to heat until the desired color is obtained. 

Green Patina On Brass Plate. — Dissolve one 
ounce of copper wire in 4 ounces of strong nitric acid. 
When all the copper is dissolved, add 20 ounces of 
acetic acid, half an ounce of sal ammoniac, and i ounce 
of strong muriatic acid. The brass to be treated with 
this solution is cleaned and dipped, preferably with a 
matt dip, and, after rinsing, the foregoing solution 
is applied to it by means of a cotton swab or by dipping 
the article in it. It is imperative that the brass should 
be clean. Within a short time the brass begins to turn 
a dark, olive green. The excess of liquid should not 
be wiped off, but must be allowed to remain on the sur- 
face. The article is allowed to remain for 24 hours 
and is then dried in an oven at a gentle heat. The arti- 
cle will then be covered with a dark-green oxidation of 
"patina," which gives it an antique appearance, but not 
the corroded appearance of verde-antique. The best 
results are obtained when the article has been sand- 
blasted, as the rough surface which is so produced is at- 
tacked by the solution better than a smooth surface. 

Etching On Various Metals. — The following 
formulas are said to be entirely reliable : 



THE EXPERT SIGN PAINTER 187 

Etching on iron or soft steel — Nitric acid i part, 
water 4 parts. 

Etching on hard steel — Nitric acid 2 parts, acetic acid 
I part. 

Deep etching on steel — Hydrochloric acid 10 parts, 
chlorate of potash 2 parts, water 88 parts. 

Etching on hronze — Nitric acid 100 parts, muriatic 
acid 5 parts. 

Etching on brass — Nitric acid 16 parts, water 160 
parts; dissolve 6 parts of potassium chlorate in 100 
parts of water, then mix the two solutions and apply. 




188 THE EXPERT SIGN PAINTER 



CHAPTER XXXIII. 

Gilding and Painting on Metal. 

ILDING A COPPER DOME.— After 
cleaning off dust and dirt, a wash made 
as follows should be used : Dissolve some 
copper sulphate in water, and add some 
nitric acid, enough to make it quite sour. This will 
cut the surface of the copper and make a tooth for 
the paint. Apply two coats of paint, the first one 
quite sharp with turpentine, with a little ^ arnish to 
bind it, and the second coat mixed with white lead 
in oil, and enough Fiench ochre in oil to give a sort 
of gold color to it; thin with boiled oil. When this 
paint is dry apply the oil size. A size that will be fit 
to leaf in 24 hours, but retainnig tack for a week, is 
the kind of size to use. Use patent gold leaf, and 
take as still a day as possible. Be sure to allow the 
two paint coats ample time to dry in, say two days 
each. Half-and-half of oil and turpentine is right, 
with just enough driers to dry it within a reasonable 
time. The size may be fat oil thinned with turps, 
adding driers enough to give proper tack and time. 
Try the size before beo^inning work on the dome. If 
too soft it will impair the lustre ; if too quick it will 
not take the leaf well. 

Estimate for each square foot of surface a book 
and one-half of leaf. It will require about as much 
size as one coat of paint. Estimate cost by counting 
time and material for two coats of paint and one coat 
of oil size, and the leaf ; add also cost of cleaning and 
preparing the dome. The work will cost approxi- 
mately seventy cents per square foot of surface. 



THE EXPERT SIGN PAINTER 189 

The leaf used is the best gold, and heavier than 
usual. The fat oil size should be rubbed out thin. 
Some only wash the copper with a solution of sal 
soda, rinsing ofT with clear water. Some advise a 
paint mixed with yellow ochre and varnish, thinned 
with turpentine to dry flat and hard. A 48-hour size 
is recommended by some painters. Gilded copper 
work when well done will last for ten years or more. 

Gilding and Smalting Sheet Zinc. — Prepare a 
mixture composed of one-half ounce each of copper 
chloride, copper nitrate, and sal ammoniac; place 
these in a glass or earthen jar and add one quart of 
soft water, stirring occasionally until the whole is 
dissolved. Lastly add one-half ounce of muriatic 
acid. This will make a greening solution sufficient 
to coat about 500 square feet of surface. Any of the 
mixture left over may be kept in a stoppered bottle 
for years, if needs be. This solution does equally 
well on galvanized iron. Use a broad, soft, fiat brush. 
The surface of the zinc or galvanized iron will at first 
turn black, but will change to gray in a short time. 
When dry it is ready for paint. Apply the oil size for 
lettering and gilding, and also the smalts, all in the 
usual way. 

Gilding Iron Letters. — The iron letters must first 
be put in a bath of hydrochloric (muriatic) acid, then 
in clear water, and finally in a bath of lime milk. Let 
the letters then dry, clean off the lime, and prime 
with some rust preventing paint. Metallic paint 
mixed with boiled oil is about as good as anything. 
When dry rub smooth, apply oil size, then gild. Two 
coats of gold leaf will give a better or more durable 
job than one leafing. 

Painting On Metal. — Paint on copper, zinc, or 
iron, says an expert sign painter, should have three 
coats and plenty of time for drying. He adds : 



190 THE EXPERT SIGN PAINTER 

''Where the specifications have called for grounding 
with red lead on metal where gold leaf was to be used 
and I have done so, I have not been convinced that 
it was any more durable than good white lead paint, 
equally well hardened. If there is any difference it 
has not been conspicuous in my experience." 

Sheet iron is liable to rust under the paint, and 
sheet steel is even worse, and to head off the rusting 
as much as possible rub with raw oil, after having 
cleaned the work thoroughly. Rub the oil well into 
the metal. Then rub dry. Prime with equal parts 
of red and white lead, in oil. On this surface any 
good paint ought to wear well. 

Paint does not adhere any too well to metal, and 
some metals are worse than others in this respect. 
If you have a sign to do on such a metal, say zinc or 
galvanized iron, better corrode it with copper sul- 
phate slightly acidulated with nitric acid. Let dry, 
then wash off and apply the paint. 

A good bronze paint for iron or brass may be made 
by taking two pounds of chrome green, one ounce 
of ivory drop black, and one ounce of chrome yellow, 
and a gill of good japan, and grinding the mass in a 
hand mill, thinning with raw oil for use. 



THE EXPERT SIGN PAINTER 191 




CHAPTER XXXIV. 

Stenciling Signs. 

UTTING THE STENCIL.— The stencil 
is usually of paper, and for large surfaces 
this is better than metal. Shellac both 
sides of the paper, using regular stencil 
paper, and when dry proceed to cut out. Many use 
a plate of glass to cut out on, but Atkinson prefers 
soft wood, saying that one secures a better cut and 
less wear on the knife. Yet there is the danger of 
the knife catching in the grain of the wood and mak- 
ing a mis-cut; better therefore to cut on glass and 
sharpen the knife oftener. On the other hand, At- 
kinson claims that he can cut a feather edge on board, 
but this is impossible on glass, and with a feather 
edge, he says, one may make a cleaner cut letter by 
the stencil. This is plausible. It is likely that a good 
even grained wood, one hard rather than soft, would 
be better than glass or soft wood. Use a knife having 
a rather thin blade, and whet it frequently on the 
stone, which should be near you. Cut carefully, mak- 
ing the stencil as near perfect as possible, for what 
you make it the stencil will make your sign. After 
cutting the stencil shellac again, to coat the new 
edges. 

Making The Duplicate Stencil. — You will need 
two stencils, if the tie is to be absent. Cut out 
slightly more than one-half of the letters on each 
stencil, the lower half of one, and the upper half of 
the other. Or, if the letter is of such form that a tie 
must be left, then cut out such part of one stencil so 



192 THE EXPERT SIGN PAINTER 

that the parts wiU hold together, then cut out that 
part in the dupHcate that is represented by the uncut 
part of the other. For rather ornamental or complex 
stencil designs more than two stencils will be re- 
quired, and a portion of each cut out, in such a way 
as to leave no ties. However, any letter may be done 
in two parts with no tie showing, the letter O being 
an example, which with one stencil would be out of 
the question to make without tie. 

Also it may be mentioned here that the upper part 
of the letter may be made one color, and the lower 
part another, by the duplicate stencil method. 

Shading The Letters. — If shading is required, 
make another stencil and draw the shades as they 
are to appear on the sign, cut out this shading, no 
tie being required. Another way is to shade with the 
stencil plate by laying it beyond and below the let- 
tering, and painting in the shade, afterwards filling 
in the angles with a small brush. The bottom shade 
should be a little darker than the side shade. 

Correcting Rough Edges, — If, after the letters 
have been stencilled on the sign, the edges show 
ragged or rough, run a line of another color along 
the edges, overlapping them a little. This will not 
happen with an expert, however. 

Mixing And Applying The Stencil Color. — 
Color may be applied either by brush or roller. The 
color for the brush should be mixed rather stiff, using 
a very little oil, just enough to bind the paint, and 
thinning with turpentine japan. If japan color is 
used, thin with a little turpentine. For the roller a 
thinner color is necessary. The roller should be one 
covered with felt, as that will hold considerable color, 
and not part with it too quickly. Fill the roller full 
of color, and work it on a board, to rid it of excess 
and make the color evenly distributed. The stencil 



^HE EXPERT SIGN PAINTER 193 

for roller work should be thinner than for brush 
work. About No. i6 Manila is right. If the stencil 
does not lie flat, give it another coat of shellac. 

Stenciling With The Brush. — One sign painter 
says : To prepare a surface for stencihng with a 
pounce, give the whole surface to be stenciled a coat 
of varnish thinned with turpentine to the consistency 
of size and regulated to dry in any required time with 
a pale drier. When it is dry to a tackiness that is 
perceptible to the touch, lay on the stencil, pressing 
i^. lightly so that every part will touch the surface 
where it will adhere, and pounce on the color, which 
should be tied up in a cotton rag in the form of a 
ball. Do not waste any time or the varnish may dry 
and you may have some trouble in removing the 
stencil. Peel the stencil off as soon as the pouncing 
is done, and clean it at once. 

The paint should be flat, or nearly so, as flat paint 
will leave a clear edge. Mix it stout and use the 
smallest quantity on the brush that will do the work. 
The best way is, after dipping the brush, rub some 
of the paint out on a board. Experience will soon 
tell you when your Inrush contains the proper amount 
to do good work. 

Using the brush for stenciling, it is better to rub 
on the color in a rotary fashion, pressing down firmly, 
and holding the stencil close to the w^ork. Never 
pounce with the brush, as many do. Use the color 
rather dry or stout. 

Doing Signs With Stencil, On Glass, With 
Paint or Gold. — Design your sign on the stencil 
paper, and cut it out, lay on the glass and fasten it 
there, then lay in solid with gold leaf. When dry, 
patch and make dry ; the stencil frame must be made 
fast to a flat bench by hinges, frame fitting the glass 
loosely. Make a one-inch piece the size of the glass, 



194 THE EXPERT SIGN PAINTER 

and fasten this to the bench, so "-hat the pattern 
frame will fall directly over it. Now lay the glass, 
with its gilded side up, on the block, let the pattern 
fall into position over it, breathe upon the gilding, 
which will show through the cutting in the pattern, 
and rub out the exposed gold with a stiff bristle 
brush ; some use an oval horse brush. Breathing on 
the gilding will keep it moist, so that it will rub out 
easily. Do all the signs of the lot this way, then rub 
out through the second pattern the same way as you 
did with the first. If three stencils are needed, then 
proceed with the third as with the first and second. 
See that each stencil registers perfectly on the sign. 
The rubbing through the pattern rubs away a certain 
part of the gold, the surplus, and leaves the lettering 
clear-cut and distinct. Paint the background in oil 
color, laying the paint evenly, then before the paint 
is dry sift on some flock of any desired color, which 
makes the back look neat when viewed from the rear. 
Such signs are usually made for show case or window. 

Zinc Stencils For Lettering With. — Zinc is so 
much more lasting that where a large number of 
signs is to be done it is the most economical material 
to use for stenciling with. Such a stencil may be 
prepared by coating over one side with wax melted 
and put on warm. The other side you letter on with 
asphaltum. Then make a dam around the edges, and 
pour on nitric acid, same as for brass. As the zinc 
is very thin it will not take long for the acid to eat 
tlirough where the zinc is not protected by the coat- 
ii'g. Then pour off the acid, remove the dam, wash 
off in clear water, and wash off coating with coal oil. 

Making a Large Stencil. — Stencils for large jobs, 
demanding good wearing quality, may be made by 
applying two coats of shellac varnish to oiled stencil 
paper, on one side only, and laying on it some fine 



THE EXPERT SIGN PAINTER 195 

muslin, which press down with a cold sad iron. After 
which the stencil may be cut, giving- a coat of shellac 
to the face of it. Keep stencils clean, clean off after 
using, with benzine and a rag. If any paint should 
harden on it, remove with fusil oil, laying the stencil 
liat and in the open air. 

Variegated Stenciled Signs. — A neat and attract- 
ive stenciled sign may be made by using a variegated 
background. This is done by having pots of say yel- 
low, blue, green and red, or as many or few as you 
may elect, with a brush for each color. Now brush 
a streak of, say red, diagonally across the board, and 
which is usually a narrow one for this kind of sign, 
and follow with all the colors you wish to use, the 
result being a board covered with diagonal stripes of 
various colors. These should be blended slightly to- 
gether w^here they touch, either by the brush in use, 
or by a separate one. When dry the lettering may 
be stencilled on, painting out the ties. This is a 
favoraite sign in use by paint makers, for stores and 
tacking up anywhere. Of course you can use tints 
instead of the pure strongcolor,if a less striking effect 
is desired. Again, the colors may be applied through 
the stencil letters, on a plain background, but this is 
not quite as convenient a way as the other. 

Stenciling may be done by separate letters, or the 
sign may be drawn in full upon the paper and cut 
out. It may be well to^ have a set of letters and nu- 
merals on hand, but effective work requires more 
than one set, so the better way is to make each sign 
entire as wanted. Where letters are made separate, 
each one must have a margin about equivalent to the 
space between letters. Each stencil must have two 
notches on its left-hand side, one near the top, one 
near the bottom, as guides, so that the plates may be 
properly registered. 



196 THE EXPERT SIGN PAINTER 

For small signs of one kind, or stock signs like 
"For Sale or To Let," the stencil pattern is a great 
time saver. Rightly used the work will be equal to 
hand work. It is usual to apply the color with a sten- 
cii brush, but the letters may also be traced with a 
pencil and then be filled in. This gives a less me- 
chanical looking job. A little handwork gives a sten- 
cil sign a better appearance where the workman has 
not been careful in stenciling. A few touches of color 
here and there, a few flourishes, if the sign admits of 
a little ornamentation, is not amiss, though of course 
this will depend upon the price. 

The stencil pattern that is designed to paint in the 
background, being the reverse of the usual stencilled- 
letter method, has its letters remaining, connected by 
ties, so that all but the letters and ties are painted in. 
After the removal of stencil the ties may be removed. 
If you wish a border in connection with the lettering, 
form it in the same way as the letters and tie it to 
the letters at certain points. All of which is easily 
followed once you get at it. 

The color used must not be too quick-drying or it 
will gum around the edges of the stencil plate; nor 
too thin, or it will run under the plate and blur the 
work. A dry, slow drying color is best. Do not 
have too much color on the brush, but keep it rather 
dry, and brush out well. 



THE EXPERT SIGN PAINTER 197 







^ 


RSjtv^j 


9 



CHAPTER XXXV. 

Making Novel or Fancy Signs. 

MITATION OF EMBOSSED GLASS 
SIGN. — Take heavy tin foil and spread 
it on the glass where the letters are to go, 
place a sheet of paper on the foil, then 
with a block of wood rub down the foil smooth and 
level. Now cut out the foil, after pouncing in the 
letters, leaving the letters showing plain glass, which 
coat with a mixture of balsam of fir, or Venice tur- 
pentine, and Damar varnish, then lay away to set; 
when it has set stipple it with a stiff bristle brush, 
which will imitate the embossed effect. Now set it 
away to dry. Then strip off the foil, gild the letters 
twice, but do not try to burnish same. After gilding, 
back it up and leave a plain edge of gold around the 
letters, outside of the stippling. When the backing 
is dry, clean off surplus gold and shade letters if de- 
sired. 

Wall Paper Letters. — Take heavy pressed wall 
paper and cut therefrom the letters you wish to use, 
then attach them to the sign board by any suitable 
cement or paste. Paint or gild these letters, or 
bronze them, as fancy may dictate. The sign board 
should be painted or prepared in a suitable manner 
to form a background for the lettering. This makes 
a cheap and attractive sign, one useful for any tem- 
porary use. 

Water Gilding on Glass. — This method is dif- 
ferent from the usual way, and may be tried experi- 



198 THE EXPERT SIGN PAINTER 

mentally before undertaking a real job with it. Make 
up a size with white of egg and water, and filter same. 
Apply with a badger hair brush, and when nearly dry 
lay on gold or other leaf, then set aside to become 
perfectly dry. Then, having prepared a pounce pat- 
tern on paper, lay it on the leafing and pounce in the 
pattern ; then trace the lines with a needle point, 
place the glass in a shallow^ dish of tepid water, and 
by means of a stick or the finger remove the leaf 
from around the letters, leaving the latter clean-cut. 
The letters should show brilliant and perfect, if the 
size has not been too thick or heavy. 

Flitter Sign. — The lettering is first coated with 
Damar varnish for a wooden sign, or with strong 
isinglass size if for a glass sign, and on the undry size 
the flitter or other like material may be sifted. Usu- 
ally two sizings and coats of fiitter are necessary to 
get a good solid job. Then when dry coat over glass 
with Damar, then with coach varnish stained the 
color of the flitter. 

Fancy Painted Sign. — Make the ground color, on 
wood, a light shade of blue, red, or other color, mak- 
ing a light tint of same, and letter in with black, shad- 
ing same with a color two or three shades darker 
than the ground color. If a line or blended shade is 
used, make same two or three shades deeper still. 

Flat Color on Varnished Ground Sign. — Paint 
the sign board as usual up to the second coat, which 
make a tint of the finish coat, say pink tint for red 
finish, and so on. Then apply the last coat, say it is 
red. which allow to dry, then lay out the lettering 
faintly with chalk crayon; then paint in with white 
or a pale tint, as may be desired. Let it dry. Then 
varnish the face of the sign, and when this is dry 
paint in the lettering with the color used in the first 
place, but making it to dry flat. The flat tint letters 



THE EXPERT SIGN PAINTER 199 

on the varnished ground make a very chaste and at- 
tractive sign. 

Fancy Gold on Glass Sign. — This method will 
give a sign having a gold outline letter with trans- 
parent letter and background. Gild and back up the 
outline in the usual way, clean up, and coat entire 
space with the background color. Now pass a plush 
roller over it, giving a stippled effect. Wipe out cen- 
ters of letters with cotton flannel moistened with 
water. Then lay in the centers with any desired color, 
stippling same with a very small pounce of rag". 

Tin Foil Sign. — It is somewhat difficult to handle 
tin foil until one gets onto the knack of it. It should 
be laid upon a piece of glass, or other smooth surface, 
and the wrinkles smoothed out. Cut out the letters 
just as they are to appear in the sign. The design 
should be laid out on the outside of the window, the 
foil letters placed on the inside, using a stronger size 
than for gold leaf. First put the size on the letters, 
then, as they are put in place, lay a piece of paper 
over each and rub carefully with a soft cotton rag, 
being careful that every part closely adheres to the 
glass. Give the back of the letters a coat of varnish, 
allowing the coat to extend slightly over the edges, 
the same as is done with gold leaf, so the frost will 
riot affect it. This will also help to hold down the 
edges. The varnish should not be applied, however, 
until the letters are dry, and after the shading has 
been done. 

Another way of making a tin-foil sign on glass is 
to crumple the foil into a ball, then straighten out 
just enough so as to give it a uniform wrinkled ap- 
pearance. Then, by means of patterns, cut out the 
letters and apply to the glass, using a strong size. 
Use a piece of paper, pressing themi firmly to the 
glass, backing up and varnishing, as before. There 



200 THE EXPERT SIGN PAINTER 

are several different ways to use tin foil in making 
signs, both on wood and on glass. 

Frosted Silver Sign. — Another very novel effect 
that can be produced at small cost is the frosted and 
burnished silver sign, with black or other lettering. 
Take a sheet of steel properly prepared for ordinary 
painting; lay otit with chalk the lettering of your 
sign, then leave an outline and shade, and before 
painting in the lettering lay on the background for 
smalting. Smalt with coarse sand from which be 
careful to have washed all dust. Dry thoroughly — 
two or three days if possible. Take a little good 
quality of mixing varnish and thin with turpentme. 
about two parts of ttn*ps to one of varnish, and pour 
evenly over the entire siu'face : allow to dry till just 
tacky enough for gold leaf, when you will pour over 
it pure aluminum bronze, applying the bronze about 
the same as yoti would smalts. Give plenty of time 
to thoroughly dry, then brush oft' all loose powder 
with a soft brush and paint in your lettering in black 
or other .colors, mixing plenty of varnish in yotu' 
color. This lettering shotild not come nearer than 
a quarter of an inch to the sanded surface, thus leav- 
ing a "burnished" outline or outline and shade to the 
letter. 

The eft'ect is a frosted silver sign, the lettering be- 
ing as distinct and as easily read as a blue and white 
sign. 

It is a strange thing that signs made at the same 
time of pure aluminum leaf did not stand the test of 
time, nor did they look as well as those made with 
the bronze. 

Cheap Glass Sign. — Have a sheet of stencil paper 
the size of the glass, and draw on it your design, 
which must be perfectly clear. Xow. having made 
up a mixture of fine bronze with varnish, thinned with 



THE EXPERT SIGN PAINTER 201 

turpentine to a working consistency, outline your de- 
sign or lettering on the front of the glass, and when 
it is done and dry proceed to shade it. You may run 
an outlining of black around the letters, then when 
this is dry go over it with carmine shade, and finally 
put on vermilion to lap over the other colors as far 
as you think proper. Other colors may be used in 
the same way, running in the darkest first. To get 
the blended effect lay in the bronze as directed, and 
leave proper space for the shade. When this is dry, 
apply your colors, with black for the background, 
for that shows up the colors best, put in the lighter 
shades first, and when dry go over the inside open- 
ings of the letters with transparent colors, which 
come in tubes; you can use carmine, ultramarine, 
blue, etc., mixing with varnish, and before this is dry 
apply tin foil or other suitable leaf, crumple it and 
lay on the letters. 

Cheap Raised Letter Sign. — Smalt a board, and 
when dry lay it on a pair of trestles ; stretch a chalk 
line across it, where the hne of letters are to go, fas- 
tening the line at either end with tacks, the string 
serving as a guide for the lay-out. Fasten the letters 
to the board with brass brads. The letters are of 
wood, gilded. 

Watch Crystal Number. — Take a watch crystal 
and gild or paint in the number or other device want- 
ed there, and when dry coat it over with desired 
ground color, then fill up with plaster of Paris. If 
white ground is desired, then do not paint inside of 
crystal, but simply fill with the plaster of Paris. This 
sign may be attached to window or other place with 
the cement used with enamel letters, made from 
white lead and quick varnish. 

Imitation Pearl Sign. — Outline the letters, then 
fill in with a gray paint, made thin and transparent 



202 THE EXPERT SIGN PAINTER 

with Damar varnish. When this is dry crumple up 
some tin foil in the hand, cut it to the size of the let- 
ter space, first having sized it with a thin coat of 
Damar. If the outlines are in gold, then the centers 
may be filled with gold leaf over Damar size, which 
m.akes a matt effect. Or the crumpled tin foil may 
be laid on the Damar size. 

Spatter Work Sign. — The board background may 
be painted white or any light tint, and when dry place 
paper letters, neatly cut out, or such as may be 
bought, on the board, fastening same with pins or 
tacks, and then spatter all over the work with some 
color darker than the groundwork. When the spat- 
ter is dry remove the letters. An atomizer or air 
spray might do for the work, but spattering is coarser 
and for some signs better. 

Novel Smat.ted Sign. — Paint in the letters on a 
suitably grounded board, and sift on clean sea sand. 
When dry, coat over with gold size, allowing the size 
to go a little beyond the lettering, and using a slow 
size. When the size has the right tack lay deep gold 
leaf on. In two days cut in with a deep glossy chrome 
green paint, and smalt this with green smalt. If some 
red smalt is added to the green you will get a very 
beautiful effect, but care must be had to keep the red 
well mixed with the green, as it is heavier than the 
green, and is liable to fall to the bottom. 

Handsome Sign. — Tinge some white paint with 
ivory drop black and coat a prepared sign board with 
it, giving a silver gray effect. Letter in with white 
paint. Shade the letters with gold leaf, close up to 
the letters. W^ith a glaze of Vandyke brown darken 
the bottoms of the shade of gold, blending up into 
the gold until the glaze fades away into gold. Next 
sliadc close to the ^nht shade with two natural shad- 



THE EXPERT SIGN PAINTER 203 

ows of the g-round color. If any ornamentation or 
embellishment is added, let it be in gold. 

Novel Sign on Glass. — With regard to sign paint- 
ing on glass, according to a German journal, a new 
process has been devised, whereby the sign is drawn 
full size on paper. The letters are then cut out, taking 
care to keep the edges clean and sharp, and pasted 
on the glass, in the same position that they occupy 
on the drawing. The glass inside of the boundary 
oi the sign is then painted with the background color, 
cutting in sharp round the edges of the pasted-on 
letters. When the paint is dry, the paper is removed 
by moistening, and gold or aluminum leaf applied to 
the vacant space, or colored mica, or thin scales of 
mother-of-pearl may be scattered over the semi-dry 
gold size, and finally backed up by a coat of lacquer. 
Of course, this applies to sign work on the inside of 
glass windows, or similar places. 

Sign Reading Three Ways. — This old-timer may 
be made as follows : Take the sign board and place 
a moulding around it so that it will extend a little be- 
yond the board. In the upper and lower moulding 
saw^ curfs or cuts with the saw deep enough to reach 
the sign board, and about one inch apart. Prepare 
strips of tin or sheetiron an inch wide and long 
enough to reach from top to bottom of sign, which 
are to be placed in the saw cuts. Now take the tins 
and paint them on both sides, the color you paint the 
sign board ; it is well to paint board and tins at the 
one time. Paint the board first, then as you paint the 
tins on both sides you can slip them into place, where 
they will dry out of harm's way. When all is dry, let- 
ter your board as you wish, then take the tins, pre- 
viously removed from the saw cuts, lay them edge to 
edge, on a table, and paint the lettering you wish on 
them. A\nien dr}^^ turn up and letter what you wish 



204 THE EXPERT SIGN PAINTER 

on the other side. When dry place the tins in the 
saw cuts. 

Fancy Mirror Signs. — There are two styles of the 
following described sign, the mirror background, and 
the painted background. For the former procure a 
bevelled plate mirror the size and shape you wish the 
sign to be, and paint the back of it with a quick dry- 
ing paint, to protect the back of the glass; let this 
get hard and then proceed in the following manner : 
Sketch letters, scrolls, etc., on the back of the glass — 
a pricked pounce pattern is, I think, the best way — 
then scratch out the letters, removing the paint and 
mirror backing from the glass so that the letters will 
show perfectly clear when held to the light. Let 
there be no specks showing in the design or they will 
show when the sign is finished. The letters are to be 
backed up in any of the following ways, depending 
upon the color, of course : If the gold letter is de- 
sired, instead of laying- in the ordinary gold leaf, use 
fancy, gold-colored foil ; it is much cheaper and looks 
better. Use fish gelatine, so-called, for size, and if 
the foil is smooth, crush in the hand so as to form 
v/rinkles — the more wrinkles there are in the foil the 
richer the letter will appear in the sign. If the foil be 
in streaks, checks of scrolls, as sometimes happens, it 
will be unnecessary to wrinkle. It is a good plan to 
have, if possible, a metal plate with raised scrolls or 
designs, and, instead of wrinkling the foil, press it 
over these designs, with weights or a rubber roller, 
which will transfer the designs to the foil. This will 
m.ake the scroll-gold effect in the face of the letters. 

If it is desired to make the black or other colored 
letters, with gold or silver border, before laying the 
foil, paint the letters on the back of those already 
scratched on the glass, leaving sufficient border to 
allow the gold or silver to show from the front. 



THE EXPERT SIGN PAINTER 205 

Other designs such as the gold letter with black 
scroll center, gilt letter with black border, etc., are 
made by tracing with a fine brush such lines as are 
necessary, before the foil is applied. But these de- 
signs will appear to the one making the sign, but 
cannot be mentioned here. 

The black, or other colored background sign, is 
made the same way, except, instead of using the mir- 
ror, you use the plain glass. The next thing is to 
back up the sign, and for this you will require a sheet 
of re-dipped tin, or some such metal, cut as much 
larger than the sign as will be required to come up 
over the edge of the glass and crimp about one-fourth 
inch over front. Now place in any kind of a frame 
desired, and the sign is ready for delivery. 

Glass signs like the above described, outside of 
glass, cost at the rate of about 30 cents for one 2x4 
feet, and when done it will look and wear equally as 
well as most of the chipped glass signs. 

Cheap Advertising Signs may be made in many 
ways, and a very popular one is made as follows : 
Make your design on paper, and perforate it, so that 
when placed back to the under side of glass it will 
show backwards. Now attach to back of glass with 
gummed strips, and proceed to outline it with fine 
gold striping bronze, mixed in a little varnish and 
thinned with turpentine. When this is dry shade the 
letters. A good effect may be obtained by running a 
black line shade, then when it is dry put in a carmine 
shade, then extend shade with vermilion to size want- 
ed. Or you can lay green next to the black, and then 
a lighter shade of green, always having the darker 
color or shade next to the letter. To make a blended 
shade, lay in the background, which should be black 
or some very dark color, leaving a space for the shad- 
ing; when dry put in the shade colors, beginning with 



SOe THE EXPERT SIGN PAINTER 

the lightest first, and working towards the letter. 
\Mien dry, paint in the openings of letters with trans- 
parent tube colors, such as carmine, ultramarine blue, 
etc., which mix with varnish, to increase transparent 
effect; when this is almost dry crumple up some tin 
foil in the hands and lay it over the letters, which 
will complete the work. 

Bas-Relief vSigns. — For making bas-relief signs 
use papier mache, mixed with a small quantit}^ of 
plaster of Paris. This sets very quickly, hence must 
be used with haste. But the drying may be retarded 
by adding some arrowroot to the mass, or vinegar, 
and while the setting will be retarded yet when dry it 
will be hard. 

Suggestion For a Fine Sign. — Paint the ground 
of the sign an ivory white, and set out the letters in 
pencil so that the setting-out is quite firm and defin- 
ite; then glaze the letters with a little cerulean blue in 
varnish, and stipple them so as to g*et a good trans- 
parent, bright blue with a little grain in it. Treat the 
l^ackground similarly but with a little terra verta. 
When these glazes are hard pounce the sign and write 
the outline in oil gold-size (or japanner's, if out- 
doors) and gild. The letters might be nine inches 
high and the gilded outlines one-fourth inch wide. 

Window Sign. — A very effective window sign is de- 
scribed as consisting of the main portion of the let- 
ters having tin foil reinforced by scrolls of blended 
green and purple; the letters were block style, and 
were laid on the inside of the glass, showing as de- 
scribed. 

Novel Stucco Sign. — Cut the letters you wish to 
use out of common straw board ; fasten these to the 
sign with small tacks. Give the board two coats of 
paint. After this is dry mix some plaster of Paris 
with a strong glue size, quite thick, and spread this 



THE EXPERT SIGN PAINTER 207 

all over the sign with a stiff brush. Now take a steel 
graining comb, or any other device, and corrugate 
the surface in some design of your own fancy. When 
this is dry, remove the letters and coat the whole sign 
with two more coats of paint. Now gild the rough 
surface with g'old and cut the letters in with black. 
The surface may also be laid with aluminum leaf, and 
the letters may be cut in with dark blue. Either way 
makes a very attractive and novel sign, and it is very 
durable. 

.Vnother way is to put the rough surface on with 
white lead and pumice stone, mark out your design 
and set in carved wood letters before the surface is 
dry. 

Imitation Embossed Silver Sign. — After finish- 
ing the lettering, etc., with gold leaf, which may be 
shaded with some warm dark colors, put in the orna- 
mental design of the embossing with two shades of 
silver gray made of white lead tinted with ultramarine 
blue and black, making one shade a little lighter than 
the other. When this is dry coat the whole over with 
clear varnish, to which you have added a little gold 
size, and while the varnish is still sticky sprinkle over 
it; as much aluminum bronze powder as it will take 
and hold ; this gives it the appearance of a matt silver. 
To make the mock embossing on the glass under the 
letters, varnish the design on the glass before sizing 
on the gold leaf, and where the varnish is the glass 
will appear to have been embossed. 

Making Cheap Signs With an Inked Pad. — 
The following process was described by R. H. For- 
grave in Signs of the Times, and is here given as an 
interesting, if not absolutely practical, contribution 
to the sign painting art : 

One of the best and neatest ways to get out a large 
number of small signs of the same kind in a short 



208 THE EXPERT SIGN PAINTER 

time is as follows: Take a sheet of No. 60 or 70 
strawboard, lay off the design, and cut it out, leaving 
the sheet in the form of a matrix. Fasten this sheet 
down to a smooth, painted board or glass with paste. 
Put a frame of one-fourth-inch strips around the 
edges. Now, take equal parts of glue and molasses, 
melt the glue in a little water and add the molasses 
and heat them, mixing thoroughly by stirring. Now, 
take some lard, and grease every part of the matrix 
inside the strips of wood, and while the molasses and 
glue is still hot, pour it into this mould, filling it flush 
and scrape the excess off with a straight-edge and let 
it stand until cool. 

Take something- in the shape of a rocker (half of a 
cheese-box is all right, if large enough), and nail the 
ends to a board, putting on a strip of wood for a 
hand hold. Lift out the sheet of molasses-glue, which 
will resemble a sheet of soft rubber, and glue it 
firmly to the rocker. You will then have something 
similar to a large rubber stamp, with an oval face. 

The next thing is the ink, or paint. Stamp ink is 
good, but rather costly, but, if you are careful, a good 
ink may be made as follows : Black — Take some lamp 
black in oil and mix it rather stout with oil, to which 
should be added a little varnish. For an ink-pad, 
take a board of suitable size and lay on it a piece of 
batting cotton of the same size and cover the whole 
with heavy muslin or light-weight duck. Saturate 
this thoroughly with the paint. 

To make the signs, have your boards or whatever 
you intend to use well pamted and fairly smooth, 
the smoother, however, the better, take the rocker 
and rock it backward and forward on the pad until 
the face of the letters or design is thoroughly cov- 
ered with the paint, then rock it back and forth on 



THE EXPERT SIGN PAINTER 209 

the board until the letters are well covered with paint. 
Be careful that the rocker does not slip. 

Shaded letters may be made by first putting on the 
shading with a light color, then putting on a darker 
color for the face. As the shading must always be 
put on first, it can not be of a darker tint than the 
face on account of covering. 

In making muslin signs by this method, sized mus- 
lin should be used, or, if not, it should be thoroughly 
sized with starch size and all the wrinkles ironed out. 
When painting on paper the stamp may be laid fiat, 
and the paper laid on it, using a board and weights 
to press it down, which should be left on for a couple 
of minutes. 

There is another way to make signs by this plan. 
Cut out the letters and fasten them to a surface, put- 
ting strips around as before and making the stamp. 
Done in this manner it leaves the letters clear of 
paint, like those cut in with a brush by painting the 
ground work. 



210 THE EXPERT SIGN PAINTER 




CHAPTER XXXVI. 

Miscellaneous Matters. 

IZE FOR GILDING ON WINDOW 
SHADE. — Take some good quick oil 
size, place it in a cup, and add to it a lit- 
tle burnt umber, in oil; this is better than 
chrome ^yellow for this kind of work. Let the size 
stand a few hours before using it, and when ready to 
use add enough boiled oil to meet the time require- 
ments of the job in hand. The more oil used the 
slower the setting. This will give a good job of 
gilding. 

Painting Window Shade Sign. — Make a size 
from four parts of gelatine to which add ten parts of 
water; to each gill of size add about 15 drops of gl}'- 
cerine. Size the letters with this, and allow it to be- 
come perfectly dry. Do the lettering with tube color, 
thinning same with turpentine, to make a flat color, 
and two or three coats are necessary to get a first- 
class job. In order to get a perfectly flat effect, 
squeeze out some tube color on a piece of blotter 
paper, which will extract the oil, or at least the most 
of it, if allowed time, but will leave enough oil to give 
due elasticity to the paint. Use a rather stiff and 
short lettering brush. 

Lettering on Granite. — If we were to apply ordi- 
nary oil color for lettering on polished granite or 
marble, it would run, so that we find it necessary to 
compound a paint that will sta}" where placed and 
also wear well. A simple and effective method is to 
mix some pure and finely powdered drop black to a 



THE EXPERT SIGN PAINTER 211 

thick paste with equal parts of sugar of lead driers, 
boiled oil, a little oil gold size, and spar varnish. The 
varnish adds gloss and makes the paint harder, wear- 
ing better for it. Thin to working condition with 
turpentine. The letters should be coated several 
times in order to get a good body of paint on. 

Painting Carved Letters on Granite and Mar- 
ble. — The most durable paint for this work is made 
from equal parts of the best asphaltum gum and tur- 
pentine, melting over a slow fire, and exercising care- 
that no fire can get to the mass. This is simply a 
good quality of asphaltum varnish, and a satisfactory 
(juality might be bought ready made. The letters 
are simply well coated with this preparation. 

Sign Painting on Brick Work. — The wall should 
l;c perfectly dry before paint is applied, and the best 
time for the work is in a dry part of the year. Repair 
holes and bad defects with the following cement : Mix 
into a paste with boiling linseed oil seven pounds of 
clean, sharp sand, and two pounds of pulverized lith- 
arge. First coat the places that are to> be filled with 
raw oil, then fill in with the cement. Let the cement 
harden, then go over the entire wall with a coat of 
raw oil. When this is dry apply a coating- of paint 
made from white lead in oil, thinned with equal parts 
of raw and boiled oil, and of turpentine one part, add- 
ing a little japan to dry it. If the ground coat is to 
be of any dark coior add a little black paint. The 
work may then be done in the prescribed manner for 
brick wall painting, for sign work. 

Gilding a Tower Clock Face. — The best wearing 
results are obtained, when gilding a tower clock 
face, by first laying aluminum or tin foil over it, gild- 
ing over this. The gold leaf will wear better this way 
than when by itself, even though it were double- 
leafed with gold. 



212 THE EXPERT SIGN PAINTER 

Doing a Large Business Sign. — If you are to paint 
a large, bold business sign, ascertain where it is to be 
placed. Of course, you would do that, but you might 
forget to consider that a letter that would look well 
near the eyes, would not be apt to look so well at a 
much higher point. I would, therefore, advise you 
to practice along this line. Make a sign of a few let- 
ters, and place it as high as you can, on some build- 
ing preferably, say at a window. Then from the 
ground note its appearance, v/hether the letters have 
been made too small or not. Most likely they will be 
too small. The O especially will be faulty, most Hkely, 
and will need to be made full and bold. Where a 
sign is to occupy a high position the letters must be 
not only^arge enough to appear readable and propor- 
tionate, but all fine lines must be emphasized greatly, 
in order to show^ at all. At near view such a sign 
would look 'cumbersome and even crude. Hence I 
advise you to practice this work, so that when called 
upon for the first time to do a sign for a high eleva- 
tion you will avoid costly and humiliating mistakes. 

Hanging a Sign. — The man having in charge the 
hanging of the sign is an important person, for a 
good sign may easily be depreciated in the hanging. 
There is ahvays more or less liability of injuring a fine 
sign in the hanging, especially where the hanging is 
rather difficult, owing to the character of the posi- 
tion, or height, etc. The hanger should be a skilled 
nian in more ways than one. He should be some- 
thing of a carpenter, machinist, painter and sailor, 
the latter particularly. He mus.t be quick to think 
and even quicker to act, know how to make and untie 
a knot, have a cool head and steady nerve, with a 
fine sense of the art side of the business. An intem- 
perate man has no place in this work. A careless man 
is little if any better than a drinking man. The right 



THE EXPERT SIGN PAINTER 213 

man for the job is a jewel, and worth his price. Many 
sign hangers possess some of all the good qualities 
noted here, but very few have them all. And no mat- 
ter how careful he may be, he is liable to have an ac- 
cident once in a while. He is liable to let a hammer 
or other tool fall, the sign is liable to slip and fall, 
and hence it is always best to warn off passers-by, or 
not let any pass directly under while the work is go- 
ing on. It has happened more than once that a sign 
hanger had left something drop, and of course it 
must fall on to somebody's head, with resultant dam- 
ages against the sign boss. 

Correcting Errors On a Sign. — When you make 
a bad spell of it, or make any other error on the sign, 
correct it as follows : Say it is a smalted sign ; then 
lay a T square at part to be made right, and scrape 
away the sand and make a clear cut. Clean off scraped 
spot with a rag wet with benzine. Shellac the part 
also. Now make your correction and then re-smalt 
the part. An error on muslin may be painted out 
with japan white, or with distemper white, giving 
enough coats to cover perfectly. Some fasten on a 
m.uslin patch. On oil cloth or board, remove letters 
while wet, using a rag and linseed oil for the oil cloth, 
and the same with addition of benzine for the board 
sign. Then wash off with soap and water, rinse with 
clear water, and dry with cloth. 

If you chance to make a false stroke on a gold 
ground, moisten some raw cotton and deftly wipe 
off at one stroke. Very easy to mar fresh laid gold 
leaf, by the way. 

Lettering a Glass Clock Dial. — It it were pos- 
sible it would be best to roughen or emboss the parts 
Vvhere the lettering is to go, in order that the paint 
might adhere better. The paint should be applied 
very thin, yet heavy enough to give an opaque letter. 



214 THE EXPERT SIGN PAINTER 

A thick paint is liable to peel. Letter with ivory drop 
black ground in japan, and thinned with a mixture of 
japan gold size three parts, turpentine one part, and 
boiled oil one-fourth part. A few drops of the boiled, 
oil is enough, the purpose being to slow up the dry- 
ing a little, and to cause the paint to adhere better. 

Peeling Off of Gilding On Glass. — Complaints 
are to be heard occasionally of the flaking or peeling 
off of the gilding on glass signs and windows. Hi is 
is usually due to tlie lack of ventilation. The great 
deficiency of glass as a surface for gilding upon is tlie 
absolute lack of grain or of those minute inequalities 
of surface which key the g'ilding or gi\e it somelliin^ 
U) hold to. It also happens quite frequent1\' that the 
gold becomes moist from the condensation of tlie 
tnoisttu'e inside the office or store. IHiis will natur- 
all\- have the effect of weakening tlic mordant which 
in this case is a water size. .\ continuance of these 
crmditions will end l)\' destroying the power of the 
mordant to hold the gold to the glass The gold will 
ihen ])eel uj). riit* onlv wav to avoid this is to ]n"o- 
\ ide some efficient means of ventilation. This shotild 
consist of otUlets al)ove and below for the escape of 
moisture where the signs are set in frames or casings. 
An idea sug'gested for framed signs for fascias, etc., 
is to make the back board half an inch less in depth 
than the opening it is supi)osed to fill. This should 
be fitted so as to leave a (juarter of an inch at the to]) 
and bottom. It is stated on good atithority that 
work pttt up in this wa}- will stand outside exi)osure 
for a consideral)le period of time. 

A Sign On a Black Ground. — There are dift'ei-ent 
ways of finishing a signboard black, all of which mav 
be used on different work. I^ie first is finished witli 
ordinary black paint, which may be either common 
lam]) black or \egetable black, mixed in the same 



THE EXPERT SIGN PAINTER 215 

way. This plan is, however, only suitable for use on 
rough or common work, because a thoroughly good 
surface can not be obtained in this way. In the sec- 
ond method we first give the sign a bare coat of oil 
color black upon the three previous coats of brown ; 
we then grind drop black in turpentine, or fine vege- 
table black, rather stiff, adding enough japan gold 
size to bind the paint; with this carefully coat the 
Ijoard. \\nien dry and hard, finish with one or two 
coats of g'ood hard varnish. This gives a good, hard, 
and glossy surface. The third method differs from 
the others only in the finishing coats. Instead of 
using the quick or dead l)lack, as in the last place, 
mix the black for the last coat, but with an egg-shell 
gloss, made by using equal parts of oil and turps, or 
perhaps a little more turps than oil. Give the board 
a bare coat of this color, and when it is dry give a 
finishing coat of black japan alone. Carefully done, 
this will give a fine, smooth and lustrous surface, 
upon which gold leaf will stand out very brightly. 
Such a surface will become very hard in a few days. 
Should it be necessary to give two coats of the black 
japan, damp the first coat down with a chamois, which 
will prevent crawling or creeping. Varnish is always 
apt to do this, making a pin-hole eft'ect on the sur- 
face unless it is dampened down. 

General Remarks. — Never use a flat brush when, 
painting- the sign board ; use a round or oval paint 
brush, of good quality. Rub the paint out wxll, and 
lay it evenly. The last coat of paint, for the ordinar\- 
black and white sign, should be of an egg-shell gloss, 
not a full gloss, nor dead flat. To wear well the paint 
coats should be smooth and hard all the w^ay up. 
Stout paint is best, but you will need to be careful 
or you will have a rough and uneven ground. After 
the ])riming coat use rather little oil. in other words. 



216 THE EXPERT SIGN PAINTER 

make the paint largely of lead, thinned with oil and 
some turpentine. 

Lettering On Wire Gauze. — For painting wire 
gauze, lay the gauze on a flat, clean table, and with a 
large stencil or other square-ended brush, pounce the 
color on sparingly, not with up-and-down strokes, 
which fill the meshes. The color, which must be thin, 
is mixed with turps, driers, and boiled oil; two coats 
are required. To dry, suspend the blind. Color made 
with turps and a little gold size is also recommended. 
Any space to be gilded should be filled up with dry 
white lead, mixed with gold size and turps. A little 
dry whiting dusted on the gauze will prevent the gold 
leaf sticking. For writing on wire blinds, so as to 
get clear, sharp-edged letters, the paint used should 
l;e mixed very thick, and should possess good cover- ' 
ing properties. The paint is generally mixed with 
ecjual parts of gold size, tiu'pentine and boiled oil, and 
should be applied very sparingly, otherwise it will 
run down the wire. Some workers use a mixture of 
weak glue and whiting for filling it. A simple and 
reliable way is to paste stifT paper on the back of the 
wire ; when the letters have thoroughly dried, the 
paper may be easily removed by moistening with 
warm water. Flat lining brushes are generally used 
for this purpose. Lines, corners and writing would 
all be arranged as in ordinary work of the kind. For 
the corners, it is better to have a stencil, as by this 
means the corners can be done cleaner and quicker. 
If it is desired to do away with the traces of the wire, 
so that the work will be left smooth, it will be neces- 
sary to go over the lettering several times with the 
fiUing-in medium. The raised effect of gold letters 
ir relief is obtained by gesso treatment, generally 
with the aid of stencil plates, cut from millboards. 
The relief may be produced by a mixture of plaster of 



THE EXPERT SIGN PAINTER 217 

Paris and weak size. Of course, the surface must be 
rubbed down and prepared in the usual manner with 
gold size before gilding. Another method of obtam- 
mg letters in high reHef is to take two-thirds whiting 
and one-third white lead and mix to the consistency 
of varnish. This may be thinned with turpentine for 
use. Another way is to add i4 ounces of alum to a 
pint of water. Thin plaster of Paris with this medium 
and apply. When dry, glue-size the letters before 
o-old-sizino- them. The latter way will require con- 
siderable dexterity. 

Coloring Electric Light Bulbs. — Clean the bulb 
with soap and water, let it dry, then rub with clean 
soft rag. Beat up the whites of two eggs ma pmt 
of clear water and filter same. Dip the bulb in this, 
and hang up to dry. For color use analine dye, dis- 
solving it in collodion. Red or blue anilines will give 
clear solutions, but green will have to be filtered. 
Yellow will give a frosted appearance to the bulb. 
Dip the bulb in the clear solution, and hang it up to 
dry. Use the aniline very thin, and if a deep effect 
is wanted, better give two or three coats. Water will 
not affect this coating. 

The National Electric Light Association gives the 
following information on this subject: Lamps of 
which the glass is permanently colored are the only 
ones that are thoroughly weatherproof. As such 
lamps are rather expensive, superficially colored or 
dipped lamps are quite generally employed. Suitable 
coloring mixture can be obtained from a number of 
manufacturers, and the lamps can be readily dipped 
l)y any operating company. In this work the old or 
dim lamps removed from the circuit may be used. 
The plan generally followed is to burn the lamp in a 
vertical position with tip down at about two-thirds 
or three-fourths of its normal candle power. When 



218 THE EXPERT SIGN PAINTER 

the lamps have become sHghtly warm, take a cup of 
the dipping sohition and raise it slowly until the lamp 
i.^ submerged therein up to its base; then lower slow- 
ly, allowing the excess of liquid to drain off into the 
cup, and proceed to the next lamp. Lamps should be 
burned until the coating becomes thoroughly dry and 
firm. 

The most desiral)le colors for lamps are opal, yel- 
low and ruby. A very satisfactory opal dipping- is 
availal:)le and can be employed in preference to frost- 
ing in many cases, as the dipping gives a smooth fin- 
ish, and the surface of the bulb is not so liable to col- 
lect dirt and get black as in the case of the frosted 
bulb. Blue, green and purple are not desirable, as 
these colors absorb so much of the light that the 
lamps are hardly distinguishable at a distance. 

Fixing Wood Letters to Cement. — If the letters 
are small, a mixture of tub white-lead and japanners' 
gold-size or copal varnish made into a paste and run 
round the top and sides (excluding the bottom) of the 
letters, using a palette knife, will answer. The letters 
should be pressed as closely as ])ossible to the sur- 
face; but the chief difiiculty is to keep them clean, as 
tlie putty will squeeze up the sides, if the letters are 
large they may be temporarily arranged in position, 
holes drilled and plugged in the w^alls, and brads used 
for fixing. These should be driven on the tops of the 
arms of the letters, so that the bradawl marks do not 
show. Brass or other plates may be screwed on the 
back of the letters, the fixing being by means of 
screws into plugs. The letters are fixed to iron bars 
or rods i in. by 3/16 in. l)y means of screws from the 
back. These in turn are secured to the wall with 
screws into plugs, or suspended on holdfasts driven 
into the wall. By the last method the letters may be 
fixed close to or awav from the Avail. The iron rods 



THE EXPERT SIGN PAINTER 319 

should be painted the same color as the cement, so 
as not to be conspicuous. 

Raised wooden letters may l^e fastened from the 
back, using- small screws and washers where the wires 
intersect; or you may use small staples. To lay out 
lettering-, fasten temporarily at bottom, to form the 
base line, a strip of wood, say an inch, and place let- 
ters on this until you have fastened all to the wires, 
when the strip may be removed. 

Galvanized Letters may be soldered with galvan- 
ized iron strips on to the backs of letters, which cross 
the wires, or strips and small bolts may be used. 

Carved Wooden Letters on metal or stone sill may 
be attached by drilling- holes in latter and driving 
wooden plugs into them ; thin brass plates are attach- 
ed to thq back of letters, these extending a little be- 
}'ond the letters, and in the flange thus exposed holes 
are drilled, to receive the small brass screws which 
are screwed into the wooden .plugs. 

Imitation Gold Paint. — The Standard Dictionary, 
in its color table, the work of an expert color maker, 
gives 1 1 parts white, 42 parts orange, and 47 parts 
yellow. A good formula calls for 60 parts flake white 
in Japan, 33 parts lemon chrome in japan, 5 parts 
deep English vermilion in oil, and 2 parts burnt 
sienna in oil, all by weight. A paler imitation ma}' 
be made upon this formula : 65 parts flake white, 32 
parts lemon yellow, i part lig'ht chrome green, and 2 
parts burnt sienna, all in japan. A strong- gold color 
that will work out light and free under the striping 
pencil may be made from medium chrome yellow, 
zinc white and a very little red ; add the zinc to the 
yellow until of a suitable pale tint, then add red to 
get a g-old color. Old gold, mix deep orange yellow 
with French yellow ochre. 

A Question of Law. — Who is responsible for work 
spoiled after being finished? A sign writer is engag- 



220 THE EXPERT SIGN PAINTER 

ed to paint an advertisement on a fixed wall space. 
This he does, but before. dry some unknown person 
wilfully smears it all over and entirely spoils the work. 
Who pays for the reproduction — the sign writer or 
the advertiser? In most cases the sign writer would 
have to pay, because he is supposed to deliver up the 
work in good condition. Painters in executing out- 
ride work are frequently put to considerable loss by 
a sudden storm of dust or wind which spoils the job, 
and in such cases the painter is the sole loser. Sign 
writers, whenever they have completed work that is 
within reach, and which some mischievous person 
may spoil, should throw the responsibility of protect- 
ing it upon the party for whom the job is done. Fail- 
ing an acceptance of the responsibility, an extra 
charge should be made for temporarily boarding the 
work up. 

Window^ Ventilation. — Regarding information 
on the over-heating, or rather the method of pre- 
venting the over-heating of windows in the summer 
time, I wish to say : You have, understand, two con- 
ditions to overcome — in winter, steaming; and in 
summer, over-heating. To overcome both you will 
have, of course, to consider and solve them individ- 
ually. In windows where anything except eatables 
is shown, it matters not how warm they get in sum- 
m.er, there is only the steaming in winter to light. 
Of course in the grocery windows you have this con- 
dition to overcome. But even here outside ventila- 
tion is not satisfactory. Is not the air in the summer 
time even warmer on the outside than in the store? 
Thoug'h here you have not two conditions of atmos- 
phere to fight as in the winter — inside and outside — 
you have only one thing to do, reduce the tempera- 
ture to the lowest degree possible, and when done 
without artificial aid that is the temperatuie of your 
store. My view is that window backs where eatables 



THE EXPERT SIGN PAINTER 221 

are to be displayed should be constructed in a way 
to render them removable. Then you can meet the 
conditions in winter as well as in summer. The gro- 
cer removes the front doors in summer to replace 
them with screens or grating, in order to keep the 
store cool and well ventilated, and the same principle 
applies to the window. 

To Prevent Cissing of Color. — Cissing or creep- 
ing of color when lettering on a painted sign board 
may be due to a too glossy surface, or a too oily 
paint; sometimes a little turpentine in the color will 
cure the trouble. If the surface is too glossy, then 
wipe it off with a damp chamois, rubbing hard, which 
will of course Avipe out the layout. To save the lay- 
out, rub over only a part of the sign at a time, re- 
setting it out before the rest is removed ; or do the 
upper half of the line first, putting back the setting- 
out before rubbing the lower half. In winter breathe 
on the work, or rub with the hand, or with a rag or 
sponge wet with alcohol or warm water. Benzine is 
better than anything else for cissing. 

Varnishing Exterior Signs. — Use the best spar 
varnish, one having a light color and good body. The 
varnishing should be put on with great care, so that 
it will be spread evenly and so not be likely to sag or 
run. If possible, varnish the sign when it is laying 
down fiat, and leave it so to dry. 

High Lights. — Some styles of lettering are bene- 
fitted in looks by high lighting, which is simply the 
running of a fine line on those parts of a letter which 
are directly opposite to the shade, and so represent 
the light falling there, as distinguished from the 
shade, which represents the absence of light. The 
high light may be either a very narrow or a wide line, 
though the former is most general ; and the color may 
be either light or deep color. The rule is, a fine line 
on gold, and a broad line on color. 



222 THE EXPERT SIGN PAINTER 




CHAPTER XXXVII. 

Lettering on Glass With Paint. 

VERY clever idea for the worker on glass 
signs, the glass lying on the table, is to have 
a hand-rest, something like a small stool, by 
which the hand is kept from injuring the 
work. Tlie article is i8 inches long by two or three 
inches wide, resting on supports that raise it about two 
inches from the glass. 

For lettering with paint you w^ill need camel's hair 
pencils for black and all light-bodied paints, and red 
sable for the heavier bodied paints, such as white lead, 
Vermillion, green, etc. 

Have small tin vessels for the turpentine and paint; 
also a T-square, ruler or straight-edge, and some bits 
of glass for palettes; a short half-inch chisel is use- 
ful, too. 

L^se Japan colors; the paint should be made to dry 
hard, so that it will not work up under the backing-up 
paint or varnish. 

A good black lettering paint for use on glass is made 
with japan coacli black thinned with turpentine and 
bound with a little rubbing varnish. Or, if you are not 
particular about it drying quickly, use coach body var- 
nish instead of the rubbing. 

The lettering is done on the back of the glass ; draw 
the letters carefully on paper, wet the other side of the 
paper with kerosene oil, to make it transparent, then lay 
it under the glass so that the letters will read correctly 
through the glass and draw the letters carefully, being 
guided by the paper pattern beneath. 



THE EXPERT SIGN PAINTER 223 

All letters of an oval or rounding form should be 
drawn true to the outlines ; if you do not get the angu- 
lar letters quite true they can be trued up with the 
chisel after the paint has become dry. To do this, lay 
the straight-edge on the letters, and cut away all super- 
fluous paint from the letters. Breathe occasionally on 
the glass as you cut, or dip the chisel in water now and 
then, either plan making the cutting more clean. 

Then clean up the glass with a wet, not damp, cham- 
ois, after which the sign is ready for shading, if it is to 
be shaded. Or it may be painted solid on the back in 
some color suitable for a background, or the letters 
alone may be coated with paint or varnish, for protec- 
tion. Varnish makes the best protective coating; use 
a clear copal, and run it a trifle beyond the letters, to 
protect the edges and keep them from curling up. 

To shade the letters, proceed as for the lettering in 
the first place, by drawing the outlines of the shade 
onto the letters on the pattern paper, then place the 
paper under the glass and paint in the sliading; trim 
and make true the shading. Then if desired the back- 
ground may be painted in solid, or left impainted. 

For a white paint, use dry white lead mixed with 
pure copal varnish, adding a trifle of ultramarine blue, 
to take off the yellow cast of the lead. Dip the pencil 
in the turpentine cu]3 occasionallv, which will give a 
cleaner cut edge to the work. It requires at least two 
coats of white to make a solid job, and if you paint all 
over the back, after the white letters are dry, it is ab- 
solutely necessary that the letters be painted perfectly 
solid, or the backing paint will show through them and 
mar the appearance of tlie work beyond repair. 

The shading may be done the width of the main 
stems of the letters. All lettering on glass should be 
well protected with backing-up color, and this may be 



224 THE EXPERT SIGN PAINTER 

made any color you may fancy, thinning with two parts 
boiled oil and one part turpentine, with a little good 
drier. 

To paint letters on a window, affix your paper pat- 
tern to the outside of the glass and paint the work from 
the inside. Back up the letters as previously described, 
being careful to protect them with varnish, as they are 
very liable to be affected by moisture, heat, etc. Do 
not use thick color on glass, and not much oil in it, as 
the sun will soften an oil color. 

When painting a. panel on a glass window, do not 
go nearer than one inch of the edge of the glass, espe- 
cially if the background is to be solid black or dark 
green, and more especially if exposed to the sun's rays. 
This prevents the heat drawn by the paint from crack- 
ing the glass. 

The companies that insure plate glass windows have 
made a very curious but important discovery that will 
interest not only owners of plate glass windows, but 
those who paint signs upon them, namely, that black 
paint will cause the cracking of glass. It is said that 
the absorption of the sun's rays and the local expan- 
sion of the glass about the paint, or any quick or sudden 
gust of wind will make such a difference in the tension 
of the glass that it will often crack without apparent 
cause. 

It is necessary to stipple some colors on glass, such 
as the greens and most mixed colors or tints. When a 
color is found to not cover well, it is best to stipple it on, 
using a clean rag or stiff bristle brush for the purpose. 

It is safest to use unmixed colors on glass. Here is 
a list of safe colors : Ochre, Rav\^ Sienna, Cadmium 
Yellow, Chrome Yellow (light shade), Vermillion, 
Light Red, Rose Madder, Madder, Pink Madder, Ul- 
tram.arine Blue, Cobalt Blue, and Prussian Blue. All 



THE EXPERT SIGN PAINTER 325 

the Emerald Greens are good, Burnt Sienna will do, as 
also Orange Chrome; and you may use Drop Black, 
Ivory Black, Vandyke Brown and Burnt Umber. Use 
the madder lakes for tinting white or for glazing. Do 
not use scarlet lake or carmine. Emerald green is 
heavy, and should be used with plenty of turpentine, as 
it is not a good covering paint. 



«26 THE EXPERT SIGN PAINTER 




CHAPTER XXXVin. 
Porcelain and Metal Letters. 

OING A JOB WITH ENAMEL LET- 
TER. — There are two or more wa}- s of lay- 
ing out the inscription, some, who are ex- 
pert, simply making- a chalk line on the 
glass and placing the letters by the eye ; if the workman 
is not expert he makes a sorry sign of it, as the writer 
recently saw, a young fellow, apparently the apprentice, 
attaching the letters in this fashion, without clue regard 
to proper spacing or attention to getting them square 
and plumb. For such a person it is better to lay out 
the design on paper, lay the letters in regular order on 
a large sheet and draw around each letter, then fix the 
sheet to the inside of the window, from which the let- 
ters may be placed accurately. The expert will simply 
lay out his lines with chalk, and if an oyal line is desired 
hold the line with the left hand, at the bottom, and with 
a chalk in the right hand, holding it at the end of line, 
describe the arc of the circle desired. Some lay the 
middle letter, on a line, and work either way from that, 
in order to get equal spaces at both ends of the in- 
scription. 

Never crowd the letters, and space them properly. 
The glass must be perfectly clean, or the cement may 
not hold. As the white porcelain shows yery bold, it 
is essential to the doing of a good job to have the letters 
perfectly arranged and spaced. 

Cement For PoRCELr\iN Letters. — The most com- 
monly used cement for porcelain letters is made as fol- 
lows : Take of white lead in oil two parts ; dry white 



THE EXPERT SIGN PAINTER ^k5V 

lead three parts; mix with copal varnish to the con- 
sistency of putty, then work on a stone or plate glass 
until perfectly smooth and fine, It should not he too 
fhm when used. This is the cement sold for the pur- 
])ose and it is perhaps as good as can be made, though, 
there are several other formulas, more elaborate, and 
which may possess some merits not found in the a1)o\x' 
cement. The following are of this class: 

Starch 80 parts ; pulverized chalk 100 parts ; mix to a 
paste with equal parts of water and alcohol, adding also 
30 parts of Venice turpentine. Stir the mass well with 
a broad stick, until it is perfectly homogeneous. 

India rubljer r part ; gum mastic 3 parts ; chloro- 
form 50 parts. I^lace in a tightly-corked bottle, and let 
stand three days or more, until entirely dissolved. As 
this cement thickens rapidly upon exposure to the air, 
it must be used quickly. It is proof against moisture, 
and may be left in water several days, on the letters, 
without coming loose. Hence it has a special fiualitv 
that makes it a aluable for the purpose. 

A common trouble with porcelain letters on glass is 
that they come loose, partially at least, and some- 
times they even fall off, and this is a serious objection 
to an otherwise very useful form of lettering. The 
main cause of this is found in the unequal expansion of 
the glass and cement fastening the letters, and also the 
metal letters coated with porcelain. The trouble may 
be overcome largely, if not entirely, by the use of a 
more elastic cement, and the following should prove 
reliable. 

Slake 3 parts of fresh lump lime in 5 parts of water ; 
melt up 10 parts caoutchouc and the same quantity of 
linseed oil varnisli together, and bring the mixture to a 
boil. \\^hile it is hot pour this mixture over the slaked 
lime, by degrees, stirring all the time: then filter it 



228 THE EXPERT SIGN PAINTER 

through muslin, and allow it to cool. This cement 
hardens slowly, requiring about two days, but is said to 
attach the letters firmly and durabty 

Anollicr and similar cement is made as follows: 
Copal varnish 1 5 parts ; drying oil 5 parts ; turpentine 
2 parts; liquid glue, made from the least possible quan- 
tity oi water, 5 parts; melt all together in a warm bat!i, 
and add finely pulverized fresh dry-slaked lime 10 
\)i\vts. Mix to a smooth paste. 

\\lien the letters come off replace them with this 
mixture : i part gmn mastic, 2 parts litharge, i part dry 
white lead, and three parts raw linseed oil; melt all tc)- 
gether, and apply hot. 

The best cement for attaching aluminum letters to 
glass is made from good coach varnish and dry white 
lead, forming a putty. 

Repairing Enamel Letters. — Enamel letters bend 
and crack ver^^ easily, and when the damaged letter is 
not too badly hurt it may be repaired with the following- 
cement : Mix together 5 parts each of damar and copal 
varnish, 4 parts turpentine, and alcohol enough to form 
a thick liquid. Then let the mixture stand for two or 
three weeks, after which add 6 parts of dry zinc white, 
mix the mass and work smooth. When required for 
use heat it, to drive off the alcohol, and apply to the 
fracture, while warm, smoothing out ; when it is cool it 
may be polished by rubbing with a piece of soft cloth. 

To Remove Old Enamel Letters. — Wet around 
the edge of the letters with alcohol, which will loosen 
the cement, then take the point of a pocket knife and in- 
sert it under the edges, very carfully, and thus raise the 
letters up. It is with difficulty only that the letters can 
be removed without breakage or some slight damage, 
but as the cost of new ones is not great it is not such a 
serious matter. Still, save when vou can. 



THE EXPERT SIGN PAINTER 229 

Brilliant Letters. — These have concave parts, 
gilded, and are to be attached to the inside of the glass, 
thus showing the gilding. The metal is thin copper, 
and the letters have slight edges, which are to hold the 
letters in their place. Now apply a second coat of 
cement. The cement should be thin and elastic, and 
colored with red, to match the gold. 

A Nice Effect With Convex Gold Letters. — A 
nice effect may be had by making a black background, 
and when this is dry mark the glass lightly to show 
where the letters are to go; a number of flat pieces of 
tin are now required, the same size and shade of the let- 
ters, less the width of the rim or narrow flange. These 
are placed on sheets of tin foil, which have previously 
been pasted to the glass, and the corresponding letters 
cut out with a sharp knife. They are then painted 
over in black, which forms the background, and when 
this is dry remove the letters and place the brilliant 
black. 

General Remarks, — Cement is improved by being 
made a few hours before using. Nothing is better for 
ordinary use than sifted dry white lead mixed to a 
putty with the best coach varnish, adding a little dry 
Indian red to match gold. When not in use the cement 
may be kept under water, removing all the moisture 
when wanted again ; or it may be kept in a tightly-stop- 
pered jar or can. In cementing the letters and placing 
them, apply the cement evenly around the edges only, 
excepting in the case of large letters, and press the letter 
firmly down on the glass, to expel the air and cause the 
letter to lie evenly and firmly on the glass. Work the 
letter gently up and down also, which will further in- 
sure perfect adhesion. Clean away any cement that 
may ooze out, using a knife or pointed stick. Clean up 
the glass also. The glass must be made perfectly c]e7\n 



230 THE EXPERT SIGN PAINTER 

before placing the letters. Be careful not to press a 
letter too hard, or it may bend or crack. While thus 
frail, yet when properly placed they will stand good for 
a long time. If the letter does not seem to lie flat or 
even, then give it a little more cement, to level it up. 
Examine the work from the inside of the window, and 
if an open space occurs, particularly at the top of the 
letter, so that water can get in, fill the part with cement. 
Be sure the work is done right before you leave it. If 
the cement becomes too hard for easy use, heat it. or add 
a little coach varnish. 

Cementing Brass To Glass. — This requires a \ ery 
elastic cement, and such may be made upon this form- 
ula: Melt together live ounces of rosin and one ounce 
of beeswax, by a gentle heat, and then stir in, slowly, 
one ounce of dry Venetian red, after which remove 
from the fire and when it is cool it is ready for use. 

Glass Letter Signs. — Not only are letters made for 
affixing on store windows, but they may be had for 
making signs on plates of glass, to hang suspended ov 
be attached to any frame, door, or the like. House 
number plates also are made thus, giving a not very ex- 
pensive but handsome sign that is easily read. Bevel 
plate, of double thickness, is used for sign plates, with 
holes bored for screws, or wire to hang with. Orna- 
ments also are made, and the drug store may have a 
mortar for attaching to the window. Various forms of 
letters and numerals are made, with low^er-case letters 
also, so that quite a variety of work may be done with 
glass letters. 

These goods are made in siher, gold and opal. The 
convex letters have the gold, etc., on the back, burned 
in the glass, wdiich gives a mirror effect, and the metal 
cannot tarnish, but must reinain bright, nor can it scale 
or wash off. The figures or letters are cemented to 



THE EXPERT SIGN PAINTER 231 

any surface, and are applied as directed for enamel let= 
ters. The goods here described are not the convex 
kind that are placed on the inside of a window, show- 
ing their gilding on the under and inner side, but are 
made to fasten to the front of a glass or window, the 
gold, etc., showing through. 

The sign painter should make the handling of such 
signs a part of his regular business, for there is always 
a good profit in them, some say lOO per cent., and often 
such a sign will catch a customer wdien an ordinary 
paint proposition might not ; for instance, a fine sign on 
plate glass will sell to a physician for $3.00 or $5.00, 
according to size and quality of work, and are pretty 
sure sellers. 

How Enameled Letters Are Made. — Enameled 
sign letters were first made in Germany, but the in- 
vention, important as it was, received very little atten- 
tion from the period of their introduction, about 45 
years ago, until about the year 1879, when they were 
introduced into the United States. A large concern 
here beg-an then to manufacture the enamel and glass 
letters also, and although there was no patent to pre- 
vent it, there was no competition, owing to the diffi- 
culty in making them, the most difficult part being that 
of getting just the right heat, for if subjected to too 
strong a heat they will crack, and if, on the other hand, 
the heat is not strong enough, the substance will not 
glaze properly. 

The enamel is made of oxide of tin, soda and borax, 
mixed with glass, the whole being reduced to a fine 
powder. The thin sheet copper letters are first cleaned 
with a weak solution of sulphuric acid, after which 
gum water is applied; then the powdered glass, etc., is 
sifted on, the gum holding it fast. It is next placed in 
a furnace, which is kept at a very high temperature, 



232 THE EXPERT SIGN PAINTER 

causing the vitreous enamel to fuse and to flow equally 
over the whole surface of the metal. If properly done 
the enamel, when cool, will have a peculiarly glassy 
surface. Two coats of enamel are applied to the face 
of the letters, and one to the back. 

Another way of making the enamel is by mixing 30 
parts of saltpeter, 90 parts of silica, and 250 parts of 
litharge. 

Blue enamel is made with oxide of copper; green 
from chromium, and so on. 



SBa y 



THE EXPERT SIGN PAINTER 233 

CHAPTER XXXIX. 

The Electric Sign. 

HE electric sign has been in use only a few 
years, yet its development has been elec- 
trical of itself. At first it was made by the 
sign painter exclusively, though he was 
obliged as a rule to employ an electrician, for the 
technical part of the work that he did not understand. 
The sign then consisted of letters painted on a board, 
with holes drilled in the board and into which sockets 
vrere fitted, this making up the electric sign. Then 
came electric signs in more artistic effects, with 
raised wooden letters, but on the same old principle. 
Then the metal worker got into the business, and it 
drifted away from the sign painter. With a few letter 
patterns and some enamel paint the metal worker did 
the work, or if unable to do anything less exacting 
he called in the sign painter to help. But the large 
electric sign makers now have specialists, a designer, 
sign painter, and so on, the result of which is seen in 
electric signs quite as handsome as the old-time 
wooden ones. 

For several years the flush-with-surface and raised 
letters were all that were known in this line of work, 
then the grooved letter appeared, chanelling the light 
to within its limits. This letter became at once very 
popular, and is still a very desirable form, owing to 
its economy as well as appearance. But, v.'hile all 
this, besides being legible at night, it stands aside in 
the daytime, beside the raised letter. Since the in- 
troduction of the grooved letter it has undergone 
manv variations of form, manv of them being patent- 



234 THE EXPERT SIGN PAINTER 

ed, but they cost more than the original type, and do. 
not offer advantages to offset this increased cost. 
The bevelHng of the walls of a letter in or out, or 
1)reaking an edge, with the necessary fittings, etc., 
adds greatly to the cost of a sign, and must prove of 
unusual advertising value if it takes the place of the 
simpler and less costly sign. 

One of the improvements of decided merit was that 
of John Hotchner, a practical sig'n man of San Fran- 
cisco, who obtained a ])atent on his device March 30, 
1908. It became at once the subject of infringements, 
law suits followed, and after months of legal fighting 
in the Courts, the inventor gained the day. This 
sign struck the public fancy immensely, and yet the 
idea was so simple that the wonder is that it was not 
thoug'ht of sooner. In its make the services of the 
sign painter becomes necessary. It is known as the 
Shedlight sign. It is a strictly modern sign, made 
to wear, both as to its material construction and form. 
It may be described as a flush letter on a metal plate, 
with a wall of about ij inches high, soldered on the 
top and on one side of the elements of a letter, wdiere 
the sig-n painter would paint in the high-light, with 
tlie shading painted in the opposite and usual direc- 
tion. This does away with more than one-half the 
work of a grooved letter. A reflector throws the 
light in the direction of the shade, exposing a beauti- 
ful, legible and artistic effect of the more costly raised 
letter. Varied styles of block and split shades in gold 
leaf and colors are used. In brief, this sign has all 
the merits of both the raised and channelled letters, 
with advantages over both as a daylight sign. 

It is not necessary here to give an extended ac- 
count of the manufacture of electric signs, for it is 
a distinct branch that has hardly any interest for the 
sign painter beyond the fact that he is occasionally 



THE EXPERT SIGN PAINTER 235 

called upon to assist, or maybe has a contract for put- 
ting up an electric sign for a customer. In the latter 
case he will seek out some good electric sign maker 
and make a contract with him for the w^ork. But 
there are many facts in connection with the work, 
from a business standpoint, that the sign painter 
should know. He should be able to impart some cor- 
rect information to a customer, for instance, giving 
data as to the various styles or designs, for there are 
some better adapted to certain purposes than others. 
Then he will want to know about what the cost will 
be, and while this is given in detail when accepting 
a contract, the figures being* obtained from the sign 
maker, yet before going this far with the deal the 
client will want some idea of the cost approximately. 
First let us consider the character of the sign, what 
ii is best adapted to do. 

What Sign to Use. — If it is the desire of the user 
that the sign also serve to illuminate the sidewalk 
and street, a raised letter will serve to better purpose. 
But a raised letter, as a rule, can not be read at as 
great a distance as can a grooved letter, nor can it be 
read at so great an angle, unless the letters are made 
unusually wide and far apart. The raised letter sign 
is best where non-electric letters are also to be used. 
A few more lamps are necessarv for the raised letter, 
but this is not, as a rule, a large item. 

The grooved letter sign is the proper one to use 
where there is special desire that the sign be readable 
for a great distance. This letter, because of its dis- 
tinct outline, may be read from any angle. The cost 
of maintenance is, of course, less, as fcAver lights are 
needed, hence less electric current is consumed. 

For roof signs the grooved letter is more desirable, 
as readability at a distance is generally the main point 
aimed at by the user of a roof sign. 



236 THE EXPERT SIGN PAINTER 

Colored Caps. — Brilliant ettects for electric signs 
are now to be readily obtained with little cost by the 
use of small colored transparent caps which fit over 
the rounded ends of the incandescent bulbs. This 
permits the owner of a changeable electric sign to 
alter the legend at will and to indulge in the use of 
colors without the necessity of keeping on hand a 
large supply of colored lamps, some of which are very 
expensive. 

Cost of ^Iaixtexaxce. — The price of an electric 
sign often strikes the merchant or other person con- 
templating buying one as being excessive, as the cost 
may run anywhere from Sioo up to Sio.ooo, the cost 
being based on the skilled labor expended, and the 
material used. But when he buys space, say in a 
popular magazine, he pays for circulation, and pays 
what might well appear to be excessive rates. The 
printed adv. may last two months, at best, while the 
electric sign lasts for years. Then he may buy a sign 
costing as little as S20, one made of glass with metal 
frame, and carrying several lamps inside. But wheth- 
er cheap or costly, a good electric sign will last five 
years at least and be as good at the end of the period 
and capable of giving as good service as at first. 

The methods of the advertising agencies which ex- 
ploit the electric sign are interesting, and certainly 
business like. Their specialty is outdoors advertis- 
ing, and their solicitation for business is not com- 
monly based so much upon one sign or bulletin as 
upon a combination or group so prepared and dis- 
tributed among the business, residential and trafiic 
districts as to meet the exact needs of every individ- 
ual advertiser. For instance, for S500 monthly, ac- 
cording to the price list of one agency, an advertiser 
may have twenty-six bulletins so distributed as to 
cover all ^fanhattan with an assured circulation of 



THE EXPERT SIGN PAINTER 237 

4.000.000; for Siooo monthly he may haye forty-nine 
bulletins; for Si 500 monthly tifty-eight bulletins : and 
so on. 

For only one dollar a day an adyertiser may secure 
tiye railroad bulletins 10 feet high by 48 feet long, on 
any of the roads entering Xe\y York, and assurnig a 
circulation of 100.000 to 150,000 daily. For S2.00 to 
S2.50 a day, he may secure fiye large painted bulletins 
in the best residential districts in the city. If his 
proposition admits of so great an appropriation as 
Si 500 a month, he may secure three illuminated bul- 
letins on Broadway, between Fourteenth and Forty- 
second streets, with a circulation of 700.000 daily ; 
one illuminated bulletin at Grand Circle. Fifty-ninth 
street, with a circulation of 200,000 daily ; one illumi- 
nated bulletin on One Hundred and Twenty-fifth 
street, with a circulation of 250.000 daily; one special 
downtown bulletin, prominently located, with a cir- 
culation of 300.000 daily; two at Brooklyn Bridge, 
with a circulation of 500,000 daily; twelye along "L" 
railways (Second, Third. Sixth and Ninth ayenues). 
with a circulation of 200,000 daily; one at Twenty- 
third street Ferr\- ^west), with a circulation of 100.000 
daily ; two on prominent driyeways, with a circulation 
of 75,000 daily; and thirty-fiye in the residential sec- 
tions with a circulation of 100.000 daily. 

The diyersity of the combinations is thus practi- 
cally without limit. Within certain bounds an adyer- 
tiser may spend as much or more or as little as good 
policy will permit, and the comforting knowledge 
may always be his that his adyertisements are work- 
ing eyery minute of the day and, in the instance of 
illuminated bulletins, through the long hours of the 
night. With such a field to choose from, it should 
not be possible that any adyertiser, wholesale or re- 
tail, national or local, could fail to select a combina- 



238 THE EXPERT SIGN PAINTER 

tion exactly suitable to his needs. The elasticity of 
electric advertising appeals to him as a business man. 

The cost of using" the average high-grade electric 
sign, with 1 6-inch lamp letters, on both sides, burning 
scores of 2-candle-power lamps from dusk to mid- 
night six days per week, is only $5 per week, or $260 
per year — ^just about one-quarter of the difference in 
rent, and the net saving is $740 per year plus addi- 
tional profit from the increased business. 

These figures are l:)ased on sign costs in Chicago, 
and include patrol switching and maintenance of ser- 
vice. 

Roof Signs. — Roof signs may be made in any size 
u]) to a dozen feet or so. Wire the front of the 
boards, and put on as many sockets as you can. Paint 
the frame black; the frame may be made of 2x4 
stuff. The wooden letters, formerly made in the 
sliop, may now be bought ready-made at a saving 
over shop labor, and in any desired form or finish. 
After the frame-work is up the letters may be nailed 
to the frame. The letters may be painted white on 
the face, and any color, using good paint, on the 
1)ack, to keep from warping". The frame-work must 
l)e well made and well braced, and where the braces 
are nailed to the roof thev should 1)e well painted or 
tarred. 

A sign may be made on the usual sign board, for 
using in front of place of business, by cutting- in the 
white letters with black background, then placing the 
sockets in the letters. 

Very large letters may be made of flooring, and 
should be well cleated on the back. 



THE EXPERT SIGN PAINTER 239 




CHAPTER XL. 

Tin Tacking. 

HIS is hardly to be included as part of the 
sign painter's art, inasmuch as the tin 
tacker simply places ready-made signs, 
and does not paint or make them. Still, 
in a measure the work may be considered as at least 
distantly related, if not a near blood relation, and 
hence is not uninteresting to the sign painting fra- 
ternity. 

The tin tacker 1)elongs to a considerable body of 
men who have an association and thorough organiza- 
tion, doing business in a very business-like way, and 
the following account given by an expert in Signs of 
the Times will prove both instructive and interesting 
to the sign painter : 

1 will endeavor to give you an idea of how we do 
business. First, we make it a point to write to every 
national advertiser at least once monthly. Frequent- 
Iv they write and ask for our prices. Some never re- 
ply to our letters, others will write and say that they 
are not advertising our territory at that particular 
time, but will take up the matter with us as soon as 
they are ready. 

We use the Robertson Magnetic hammer, and, to 
gO' slightly into detail, fill the mouth with tacks (using 
York tacks) and tack from the mouth. We have our 
right-hand coat pocket lined with heavy canvas and 
keep it well filled with tacks for immediate use. The 
bulk of our tacks, of course, we carry in a shot bag, 
which mav be obtained from any hardware store. We 



240 THE EXPERT SIGN PAINTER 

always start to work at seven o'clock in the morning 
and quit at live o'clock in the evening, allowing one 
hour for dinner. Assuming that we have a 28-tack 
card, we place seven tacks along the top and then four 
rows underneath ; in this manner, after tacking a few, 
you will gradually get all the tacks the same distance 
apart and will not have to count them. We use the 
Williams folding- ladder, because it is easy to carry 
in a buggy in case we are obliged to make a long- 
drive, and it is also light to carry on the streets. 

In 'going from house to house, if we desire to get 
permission to use some one's premises for tacking 
purposes, we approach the house that we think such 
premises belong to, knock, and if a lady answers, we 
take off our hat and bid her the time of day; then ask 
her, always saying "please,'' and if she grants us per- 
mission we always thank her. If she refuses, w^e tell 
her that signs will not injure her property and that 
we only intend to tack one. Nine times out of ten 
you will get permission if you go about it in the right 
manner. Then, on the other hand, if a man answers 
the door, we eye up the situation in a minute, and if 
he looks like a clerk or a man with money, we ask him 
in the following manner: ''Please, may I tack a sign 
on your shed ?" — making our request in this manner 
we appear as his equal. If perchance he happens to 
be a laboring man we say, "Can I tack a sign on your 
shed?" In this manner we simplv tell him that we 
are not placing ourselves higher than he. 

We make it a point not to let our competitors get 
a better showing than we do. If one of our men can 
not get a showing that has been given one of our 
competitors, we leave it go a day or two, then an- 
other one of us will try it. 

In tacking tobacco signs, etc., we always aim to 
get a sign as near to a grocery door as possible; a 



THE EXPERT SIGN PAINTER 241 

sign placed in such a position will attract the pur- 
chaser's attention last and cause him to ask for the 
goods that we are tacking, and in this manner the in- 
crease of sales of the goods that we are advertising 
rebounds to our credit. This also gives a salesman 
no chance to write to his house that he can not find 
our work. 

Pole tacking is prohibited in some towns, in which 
case we leave them alone, as in tacking them in vio- 
lation of an ordinance we would simply invite more 
drastic legislation. Then in some of our towifs it is 
permitted, in which case we never tack signs in cus- 
tomary places, that is, from five to seven feet high, 
as there is always some greenhorn who will cover 
them almost as soon as they are tacked. We always 
aim to get them higher than the average, or else for 
the most of the time we do not tack them over one 
foot from the ground. We tacked signs in this man- 
ner over a year ago in some towns, and they are still 
up ; and some that we had tacked in customary places 
are down long ago and forgotten. 

Another thing in favor of tacking a sign one foot 
from the ground is that a man never looks at the top 
of a post, and there is not a man on earth who does 
not see the bottom of one, say second or third post in 
front of him. Try it and see if I am not correct. The 
reason for putting it a foot from the ground instead 
of entirely at the bottom of a post, is that the rain 
and snow will not damage it. If it is placed too near 
the ground the sign will soon become splashed and 
especially after the first rain will look dirty. 

We also notify the advertiser daily, by mail, what 
territory we have covered. This information enables 
their inspectors or salesmen to know just what route 
to cover. After completing a job, we at once send 
the advertiser a bill and a list of the locations of their 



242 THE EXPERT SIGN PAINTER 

signs. We believe that this is something that nearly 
all sign tackers overlook. We list them in the fol- 
lowing manner: 

Road from — 

Wheeling, ist ward. No. of signs. . . . 

2nd ward. No. of signs .... 

To Bellaire No. of signs .... 

Bellaire, ist ward. No. of signs. . . . 

In this manner the advertiser knows exactly where 
to locate his goods. If we have any signs left over 
we notify him as to the number, etc. ; then inform him 
as to adjacent territory, class of people living in this 
territory, whether industrious or not, and nearly al- 
ways he will give us instructions to tack this adjacent 
territory. 

We always keep our signs clean when tacking, and 
we do not tack in rainy weather. We carry them in a 
waterproof sack, as signs cost money and take on a 
dingy appearance soon enough without being mis- 
used or carelessly handled by sign tackers. If an in- 
spector calls upon us we take him around and show 
him our work and ask him to pass his opinion on it. 

I trust that the foregoing will be of some interest 
and assistance to members of the Brotherhood of 
Sign Tackers, and will conclude by giving one more 
pointer: Never tack signs in narrow back alleys; it 
does not pay. 



THE EXPERT SIGN PAINTER »43 



CHAPTER XLI. 
Cleaning and Renovating Old Letters, Etc, 



R 



ENOVATING OLD GOLD LETTERS ON 
GLASS.— To restore the lustre of gilded 
letters on glass, wash them ver}^ carefully 
with a weak solution of muriatic acid. 
Thelimi)le removal of the accumulated dirt and grime 
restores the color of the gold, and this is what the acid 

does. 

Removing Paint From Glass. — Pamt marks on 
glass containing lettering may be removed by coating 
The glass with a paste of whiting and ammonia, usmg it 
when in a cream-like state, this being done with water ; 
allow the whiting paste to dry on the glass, then wash 
off with soap and water, after which use the chamois, 
and, when dry, polish with tissue paper. 

Renovating a Pictorial Sign. — If the sign has not 
suffered much exposure to the weather, it may be 
washed off with soap and water, or water to which add 
a few drops of ammonia water. After which wash off 
with clear water. When dry give A a coat of good 
varnish. It mav then be touched up wherever this 
may be required! and if all has been done skilfully the 
sien will look like new. If the sign has suffered from 
exposure, and is cracked, 1)listered or otherwise in- 
jured in its coating, it will be a saving of time to re- 
paint it on a fresh ground. Pictorial signs, requiring 
many colors, are apt to fade more or less in a short 
time. If the sign is worth it, being a good job, it may 
be restored by painting over and following the old 
colors. If the sign has been done on iron it will likely 



244 THE EXPERT SIGN PAINTER 

be more difficult to renovate than when on wood, as 
iron contracts and expands and seriously impairs the 
paint, usually causing it to scale. In such a case it 
would be well to take a tracing of tlie design, and re- 
paint the work afresh. 

Cleaning Raised Gold Letters. — To clean raised 
gold letters, llrst dust off with a soft brush, wash 
wdth castile soap suds, using a soft brush, after 
which wash wuth plenty of clear w^ater, to remove all 
traces of soap. A wad of cotton wool is good for this 
purpose. Now let the work dry, then if the lustre of 
the gilt letters need restoring wash off with dilute mu- 
riatic acid. 

Cleaning a Show W^indow Glass. — Moisten some 
pure calcined magnesia with pure benzine, making it 
into a pasty-like mass. Place a little of this on a wad 
of raw cotton, with which rub the glass, after which 
wipe the glass dry, and polish with a cloth. When not 
in use place the magnesia putty in a tightly stoppered 
vessel. Be careful not to use near an open flame or 
fire, on account of the benzine in the mixture. 

Removing Temporary Signs From Glass. — When 
temporary or advertising signs have been attached to 
the show^ wnndow, either by strips or as a whole, it is 
not the duty usually of the sign painter to remove them, 
but in case he has to, say in order to do a sign on the 
glass, then it is well to know how to go about it. 
Dampening with warm water will soak the paper loose ; 
then clean and polish the glass in the usual way. If 
the sign painter will remember to use thin paste when 
attaching such signs it will make the removal much 
easier for whoever has to do it, besides making it cost 
the customer less for the work. Use the paste thin, 
and as little as will do the work. If water colors have 
been used in doing the temporary sign, then use as little 



THE EXPERT SIGN PAINTER 245 

gum Arabic as possible. Soak the gum in water until 
dissolved, then mix the color in it thick, to a paste, then 
thin out with clear water. If you use gold size color, 
then use as little size as will serve to bind the color, so 
that it mav be removed easily with benzine. The w^ater 
color may easily be removed with warm water. 

Cleaning Brass Sign Plates. — x\n acid is useful 
for this purpose, oxalic acid being perhaps the best, but 
whatever acid may be employed it must be cleaned off 
afterwards with water, then when dry rub with sweet 
oil and tripoli powder, which will preserve the brass 
from tarnishing for quite a long time. Soft soap and 
rottenstone are also good cleansers, as also a paste 
made from oxalic acid and whiting. This latter is to 
be applied wet, then let it dry, finally rubl^ing with a 
brush. 

Removing Old Smalts From a Sign. — Dampen 
the old sand with alcohol, which will loosen it, after 
which it may be scraped away. Paint and varnish 
remover will also loosen the sand. If the sign is very 
old and weather-beaten the sand may often l>e re- 
moved by scraping with an old plane bit, or other suit- 
able scraping tool. Alkali will soften the paint, but is 
not to be recommended, owing to liability of getting 
into the wood, which might injure subsequent paint. 
The blow-torch will soften up the paint, which may 
then be scraped off. 

Cleaning Paint Cups and Buckets. — Place a 
suitable quantity of raw linseed oil in a can of sufficient 
size and heat the oil until quite hot, but not up to the 
boiling point, then place the dirty cups or cans in the 
oil and allow them to remain until the paint is softened, 
which will be onlv a few minutes, as a rule. In this 
way the oil can be strained and used in paint, none the 
worse for having cleaned the tins. 



246 THE EXPERT SIGN PAINTER 

Cleaning Tarnished Zinc Sign. — To clean and 
renovate a tarnished zinc sign plate place one part of 
muriatic or hydrochloric acid in twelve parts of water, 
and with this rub the plate well, using a soft rag ; after 
wdiich wash off with clear water. 

Brightening Old Smalts Sign. — In course of 
time the smalted ground will become dingy with dust, 
smoke, etc., and when it is desired to renovate it try 
washing with benzine. First remove loose dust or dirt 
with a duster, and some advise washing with warm 
water, to which has been added a little soap, but care 
must be taken not to have the suds strong enough to in- 
jure the paint. Turpentine is better than benzine for 
brightening up the smalts, but costlier. The gilt let- 
ters may be restored 1)y washing with a dilute acid, us- 
ing a soft brush. 



THE EXPERT SIGN PAINTER 347 

CHAPTER XLII. 
What to Charge for Sign Painting. 

N the absence of a standard price it is ob- 
viously impossible to give a list in this con- 
m-^W'^m nection that will have any great value 
BJmiM to the operating sign painter, who al- 
readv has his own fixed schedule of prices, or to the be- 
ohiner on his own account, for prices vary greatly with 
locality and also with certain conditions of trade, such 
as location, whether among the large commercial firms 
or in a small business part of the town or city, ihen 
there is a difference of quality in sign work, or cheap, 
medium and first-class work. The following lists are 
in use with some sign painters, east and west, and will 
serve as a basis, at least. The sign painter will guage 
his prices according to those prevailing in his locality, 
or that will meet the prices of competitors, for be his 
own ideas what they may, he will have to cut close 
alono- the lines established by those around him and 
wholeek work in the same field. As for basing a price 
upon actual values, it is well to take account of what 
material and time costs, then add 25 per cent for 
profit This is the method employed by some of the 
bio-gest firms, and it is a common-sense business way. 
too It is far better than merely working on a more or 
less arbitrary scale of prices, which may not even ap- 
proximate cost and profit. Ascertain just what the 
work costs, add the 25 per cent, for profit, and you will 
not go wrong, either as regards yourself or your cus- 
tomer. . - 

The cost of materials is a fixed quantity; you know 
what lumber, paint, etc., cost, but you cannot tell how 



248 THE EXPERT SIGN PAINTER 

long it -will take to do the job, that is, not absolutely. 
What one man may do in two hours another may re- 
quire two and one-half hours, or even three hours. A 
fast workman will, of course, get out more work in a 
day than a slow workman. You simply ha\e to make 
an average estimate. If you have several hands em- 
ployed, each one can have a time sheet, and hand it in, 
with all needful data, showing Vvhat job he worked on, 
and what he used on it, also what time he spent on it. 
The printers do this, they have the system down ver}- 
tine. If you are the sole workman, and are very slow, 
it will not do to charge for time in full as an average 
good speed workman would l)e entitled to. You would 
have to allow for this factor. I have known a sign 
painter to spend a day on a job that a fast man wouM 
have done in nuich less than live hours. Here the 
value of some sort of scale of prices comes in good: 
adopting one that is in use in an average good and 
large shcjp, \ou will be able to get your prices about 
ritrht, no matter how slow or how fast vou may be. 
Here are some schedules that will prove useful in the 
manner suggested : 

BOARD SIGNS. 

Calculated on three good coats of pure lead in oil 
paint, properly applied, the lettering on this. The 
jjoard, if you furnish it, the irons, and the putting up 
all extra. If shaded, in one color, add 25 per cent, 
extra : 
White ground and black letters, lettering per foot $ .50 

Gold, silver, or aluminum leaf, per foot i.oo 

Ordinary "For Rent'' signs, each i.oo 

WALL SIGNS. 

Calculated on two coats of paint and lettering; extra 
coat of paint one cent per square foot extra. The price 



THE EXPERT SIGN PAINTER 249 

will run from lo to 20 cents per square foot of s\u*- 
face, depending on size, which may be that of the entire 
side of a building, to a sign 2x4 feet. 

GLASS SIGN. 

l^ettering in gold, silver or aluminum, up to 6 

inches in height, per running foot $ .75 

Lettering 6 to 10 inches high, per foot i.oo 

Lettering 10 to 14 inches high, per foot 1.50 

If shaded, add 25 per cent, for one color. 

Silver and aluminum leaf being very much cheaper 
than gold, you can charge 25 cents a foot less. A sign 
painter says that silver lettering by water size (on 
glass) is worth the same as leafing with gold, deducting 
the difference in the cost of the two only. He adds 
that gold lettering is worth from 10 cents to one dollar 
or more a letter, according to amount of lettering and 
size, etc. Another one says : ''Some figure by the run- 
ning foot, but many people think that looks very big. 
and won't pay it. Charge him 8 cents an upright inch, 
and you w^on't lose any money. Some sign painters 
may think this is down too fine, but it can be done for 
that." 

OIL CLOTH SIGNS. 

Per foot, up to one foot $ .20 

Per foot, up to two feet 25 

Two or three feet 30 

With these prices you are to furnish the oilcloth, 
without charo'e, but frames will be extra. 

MUSLIN SIGNS. 

up to one foot in height, black letters, per foot. .$ .08 

One to two feet 10 

Two to three feet 12 



250 



THE EXPERT SIGN PAINTER 



Colored letters 50 per cent, extra. You are to fur- 
nish the muslin, but the frames will be charged extra. 

JAPANNED TIN SIGNS. 

As in prices on all sign work, it is simply a local pro- 
position, what to charge for japanned tin signs. The 
following table is taken from a price list established by 
an association of painters in an eastern city, several 
years ago, but it will serve as a guide for any localit} 
or local condition. As almost every article of barter 
and workmanship has changed since this price list was 
set, its prices may be low, but they were high for man}- 
places, when set. 

SIZE OF SIGN 

3 X 14 inches $1-25 



6x 8 


'* 


8x 10 


" 


lox 14 


* ' 


II X 17 


' * 


II X 17 


" 


14x20 


(> 


14 X 20 


' * 


18x24 


kt 


18x24 


* * 



with three lines . 
witli three lines, 
with three lines . 



GOLD 


PAIXT 


1-25 


V '75 


1.50 


•75 


175 


1. 00 


2.50 


1.50 


3.00 


2.00 


3-50 


2.50 


4.00 


2.50 


4-50 


3.00 


6.00 


350 


7.00 


400 



If frames are provided, charge extra. 

yiv. Frank H. Atkinson, head designer for one of the 
big Chicago sign advertising firms, and author of a 
great work on the art, published in 1909. gives a very 
good approximate list of sign prices, which I have 
taken the liberty of quoting in this connection. ^h\ 
Atkinson declares that "The minimum of profit for a 
day's work in sign painting, when in business for your- 
self, must be $10 after cost of materials and inci- 
dentals has been deducted." We infer that this is to 



THE EXPERT SIGN PAINTER 



251 



be the least proiit for one man. Doubtless it might be 
done in some one-man shops, but very few could do so 
well though manv would like to do it. It could be 
toter done in a large shop, with a large and high-grade 
line of trade. 



DRUM SIGNS. 



GOLD .A-.. I 



Single Pairs Single Pairs 

8 men S2.25 S4.00 S1.05 VS2.50 

12 •* .... 3.00 5.00 ^-25 ^^-y:^ 

t8 •• 3-73 7-00 -'-/.^ 5-00 

24 •' ... J-.oo 7-50 3-00 5-7.-^ 

30 '• 4-75 9.00 375 6.50 

.5 •• .... ;.:^o 10.00 4-25 8-00 

"^ - k^-r^ TT -7- ; ;0 10.00 

48 " ... /.--^o I4-00 ^50 ^^v? 

5 feet 8.50 16.00 7.00 13-50 

6 " ic.oo ^-50 

J " 1300 9o^ 

8 " 1500 ^0-75 

g '' ....18.00 13-00 

10 •• 24.00 16.00 

For lots of six or more dedtict 30 per cent. 

In flat zinc, deduct 10 per cent. 

If lettered entirelv in silver, deduct 15 per cent. 

For every six inches over three feet in width add 30 

per cent. 

On re-paint, deduct 15 per cent. 
For gold ground add 75 per cent. 
For silver ground add 30 per cent. 

Varnished gro^^"^^' ^^^' ^5 per cent. 
Bracket signs, double face, estimate the same as one 
pair of drums, less 15 per cent. 



252 THE EXPERT SIGN PAINTER 



BOARD AND GALVANIZED FASCIA SIGNS. 



PER LINEAL FOOT 
GOLD SILVER PAINT 



40 
60 

70 
80 
90 



Up to 6 inches wide $ -SO $ .40 .30 

" 12 " " 65 .50 

" 18 '' " 8; 75 

" 24 " " i.oo .85 

''30 " " 1.25 1.00 

*' 36 " " 1.50 1.25 

The above prices are based on smalted ground and 
one-Hne lettering. 

After the first full fine add 30 per cent, per foot for 
all additional work in gold; silver, add 25 per cent,: 
paint, add 20 per cent, per foot. 

For re-paints, deduct 20 per cent. 

If customer furnishes board, deduct 20 per cent. 

If finished in varnish, add 30 per cent. 

If gold ground, add 75 per cent. 

If both sides, add 75 per cent. 

CARVED RAISED LETTERS ON FASCIA BOARD. liLACK 
SMALT GROUND. 

PER LINEAL FT. 

3-inch letter, up to 14 inches wide $1 — 5 

4- " '' 14 to 18 " 1.50 

5- " " 18 to 24 " 1.75 

6- " " 24 to 30 '*' 2.00 

9- "' " 30 to 36 " 2.50 

Letters gilded in XX gold leaf, deep shade. 

If in silver^ deduct 20 per cent. 

If two lines of letters, add 75 per cent. 

GILDING ON GLASS. 

Five inches high, one shade, or lined. 75c. per lineal 
foot. 



THE EXPERT SIGN PAINTER 253 

If done on ground floor, increase by 20 per cent. 
Four-inch or less outline, or with ground, $1.00 per 
lineal foot. 

Six-inch high, shade or line, 80c. per lineal foot. 

From 6 to 8 inches high, shaded or lined, $1.90 per 
lineal foot. 

From 8 to 10 inches high, one shade or line, $2.00 
and up per lineal foot. 

Gold or silver lines around panels, f inch or more 
wide. 10 cents per foot. 

For each additional shade, add 20 per cent. 

For blended shade, add 40 per cent. 

For ornamental face, add 30 per cent. 

A sketch should be made for each order, to help in 
making a correct estimate; draw to a scale of one- 
quarter inch to foot. 

OFFICE DOORS. 

Black, colors, or aluminum, per lineal foot 25 

Single line 75 

Gold numbers on transoms in office buildings, up 

to five inches high, each 25 

Each numeral up to 99 25 

Each numeral after 99 20 

Colored numerals one-half above prices. 

HOUSE NUMBERS ON TRANSOMS. 

SILVER OR GOLD PAINT 

Up to eight inches high $2.50 S1.50 

If done in the shop 2.00 i.oo 

Three to five mimbers, one trip. . . . 1.80 .80 

Five or more numbers, one trip. . . . 1.70 .60 

PAINTING CANVAS SIGNS ON FRAMES. 

Three feet wide or less, 60c. per lineal foot, tip to 
2^ lineal feet. After first 25 feet, 18 cents per foot. 



254 THE EXPERT SIGN PAINTER 

If wider than 3 feet, estimate at 20c. per square foot, 
up to 75 square feet; after first 75 square feet charge 
15c. per square foot. 

If gold lettering, charge 10 per cent, less than for 
board or metal signs. 

UNMOUNTED MUSLIN SIGNS. 

Ordinary, per square yard 45 

Fifty or more yards, per square yard 40 

100 or niore yards, per square yard ■ .37^ 

For muslin sign mounted, add loc. per lineal foot 
to above prices. 

Muslin banners for railway cars, per sq. yard 45 

Add $1.50 a banner for sewing and rope. 

UNMOUNTED OIL CLOTH SIGNS. 

Ordinary, per square foot 15 

40 or more square feet 12 

y-^ or more square feet .it 

PLAIN SWING SIGNS TIN OR ZINC. 

GOLD PAINT 

6x 12 inches $2.00 $1.50 

lox 14 " 3.00 2.00 

12x18 " 3.25 2.25 

14x20 *' 3.50 2.75 

18x24 " 4-50 3-00 

24 X 30 " 7.00 5.00 

24x36 " 8.50 575 

For japanned tin, add 20 per cent. If on board, add 

15 per cent. If fancy shape, add 40 per cent. If only 
on one side, deduct one-third. 

GLASS SWING SIGNS IN FANCY FRAMES. 

$3.11 per square foot, glass measure, up to $5.00 per 
square foot. 



THE EXPERT SIGN PAINTER 255 

INTERIOR GLASS PANELS, FASCIA. 

$3.00 per square foot. 

GLASS SWING HALL SIGNS, ONE SIDE. 

On frosted glass, lettered in black or colors, same as 
swing signs in color letter, 

TIN STAIR STRIPS. 

In gold or silver, 50c. per lineal foot. 
In two colors, 30c. per lineal foot. 

PAINTING WALL SIGNS. 

Estimated on broke-on or cut-in work, with letter on 
l)lack ground. 

Up to 100 square feet, per square foot 05 

Up to 500 square feet, per square foot 04^ 

Up to 1000 square feet, per square foot 04 

Above 1000 square feet, per square foot 03^ 

Contract of 10,000 square feet or more, per 

square foot 03 

If colored ground, 5c. per sq. ft. under 1000 sq. ft. 

Above 1000 square feet, per square foot 04 

Lettered on light-colored ground, under looo 

square feet 07^ 

Pictorial work on walls, bulletins and fences, 

per square foot 12 

REAL ESTATE BOARDS. 

2x3 feet, in lots of 25 or less, each $1.00 

2x3 feet, in lots of 100 or more, each 95 

All sizes larger than above, per square foot 16 

In lots of 25, per square foot 09 

WINDOW SHADES. 

Gold, per lineal foot 50 

Silver, per lineal foot 40 

Paint, per lineal foot 35 

If any shading, add 10 per cent. 



256 THE EXPERT SIGN PAINTER 

LF.TTERING ON SILK OR SATIN. 

Gold, Der lineal foot $i.oo 

Silver, per lineal foot 75 

Color or bronze, per lineal foot 50 

CAMPAIGN BANNERS. 

For street display, style, ribbons and portrait 
panels of canvas sewed on net, 14 x 30 feet, $1.50 each. 
Or, charge about 30 cents per square foot 

PITTSBURGH ASSOCIATION PRICES. 

The following schedule is from a price list issued by 
the Pittsburgh, Pa., Association of Master Painters 
some years ago. It provides for two coats of paint 
and the lettering, with an extra charge of one cent per 
foot square for additional coat of paint : 

2x 16 ft $6.00 10x20 ft $16.00 

2 X 20 ft 7.00 10 x 24 ft 19.00 

2 x 24 ft 8.00 10 X 30 ft 22.00 

2 x 30 ft 10.00 12x16 ft 14.00. 

3x16 ft 8.00 12 X 20 ft 18.00 

3 X 20 ft 10.00 12 X 24 ft 20.00 

3x24 ft 12.00 12x30 ft 25.00 

3 X 30 ft 14.00 14 X 20 ft 20.00 

4x16 ft 9.00 14 X 24 ft 24.00 

4 X 20 ft 1 2.00 14x30 ft 28.00 

4x24 ft I3-00 16x24 ft 26.00 

4x30 ft 15.00 16x30 ft 30.00 

6x16 ft 12.00 20 X 24 ft 30.00 

6 X 20 ft 14.00 20 X 30 ft 35-00 

6 X 24 ft 16,00 20 X 40 ft 40.00 

6x30 ft 18.00 21 X30 ft 37-00 

8x16 ft 14.00 24 X 36 ft 42.00 

8 X 20 ft 16.00 24 X 40 ft 48.00 

8 X 24 ft 18.00 30 X 40 ft 60.00 

8 X 30 ft 20.00 30 X 50 ft 70.00 



THE EXPERT SIGN PAINTER 257 

lo X 12 ft lo.oo 30 X 60 ft 80.00 

lox 16 ft 1300 

This list gives no discount for contracts, which 
would of course have to be considered. 

BOARD SIGNS PITTSBURGH PRICE LIST. 

Three coats of good paint and lettering. Board, 
irons and putting up, extra. Shading, one color, 25 
per cent, extra. 

PLAIN GOLD 

6 in. X 4 ft $2.50 $4.00 

8 in. X 6 ft 3.50 5.00 

10 in. X 8 ft. ... 4.00 6.00 

12 in. X 12 ft 5.00 7.50 

11 in. X15 ft '. 5.00 8.50 

14 in. X 16 ft 5.00 8.50 

14 in. X 18 ft 6.00 9.00 

14 in. X20 ft 6.00 9.50 

16 in. X 16 ft 6.00 9.50 

16 in. X 18 ft 6.00 10.00 

18 in. X 18 ft 6.00 10.00 

18 in. X 20 ft 7.00 12.00 

18 in. X 24 ft 7.00 15-00 

18 in. X 30 ft 8.00 18.00 

PRICES ON WAGON LETTERING. 

The following may be considered as an average price 
list for cities and large towns, east and west. 

Plain letters, one color, per running foot. . 15c to 20c 

Same, with shade 20c to 25c 

Shaded and ornamented 35c to 40c 

Plain gold letters 45c to 50c 

Same, shaded 60c to 70c 

Ornamental gold lettering 75c to $1.00 




258 THE EXPERT SIGN PAINTER 

CHAPTER XLIII. 
Shop Equipment. 

OOLS REQUIRED IN SIGN PAINT- 
ING. — A shop equipment consists of the 
necessary appHances for doing the sign 
painting, and sign hanging as well. Hence 
there will be needed block and tackle, ladders, swings, 
etc. Easels of different sizes, to accommodate the 
large and small signs ; saws, hammers, nails and 
screws, torches for paint burning, half-barrel for lye, 
paint scrapers and putty knives, straight edges and 
T-squares, steel square, dividers, large and small, 
chalk line, two-foot-and-longer rules ; canvas for 
smalting, etc. Then there will be needed all the dif- 
ferent colors, in oil and japan, in cans and tubes. 
White lead in large kegs; oil and turpentine; drv^ 
colors, such as lamp black and vermilion, etc. ; smalts, 
blue and black ; white chalk crayons, charcoal sticks, 
water colors, artists' moist tube colors, pan colors in 
water, drawing paper, stencil paper, etc. 

This is by no means an exhaustive list, but merely 
indicates the stock required in a general sign paint- 
ing shop. The brushes required are as follows : 

Camel's hair lettering pencils, all sizes, for oil 
colors. 

Black sable lettering pencils, in quills, Xos. 8, lo 
and 12 are most used, but it is well to have all sizes 
on hand. No. 12 is a special size, used mainly for 
cutting in on facia boards. 

Red sable lettering brushes, in quills, all dift'erent 
sizes, used in general lettering, and considered the 
most convenient by experts, as they carry heavy color 



THE EXPERT SIGN PAINTER 259 

well, and their spring is not affected thereby. A very 
desirable pencil. 

Flat camel's hair lacquering brush, for large letter- 
ing on oil cloth, muslin and smooth board surface; 
assorted sizes. 

Flat red sable lettering brushes for oil cloth, mus- 
lin and fairly smooth surfaces; useful for water color 
also. A very good brush for free-hand and single- 
stroke w^ork. 

Artists' flat bristle brushes, chiseled, used mainly 
for pictorial work, etc., on bulletin and wall work. 

Flat bristle varnish brush, chiseled, sizes i^- to 2 
inch. Used for coating small boards and board work 
ir general, and for cutting in on wall and bulletin 
work. 

Flat bear's hair, or fitch hair, brush, useful for 
large lettering on brick wall work, large muslin jobs, 
canvas and large bulletin work. Assorted sizes. 

Prices of the Brushes. — Prices vary according 
to locality and quantity bought at one time. The fol- 
lowing are retail prices taken from a large catalogue : 
Camel's hair letterers, quills, sizes i to 8, as- 
sorted, length of hair i and i| in., per dozen. $ 35 
Camel's hair swan quill lettering- pencils, i^ in., 

different sizes, each 07 

Black sable lettering pencils, hair i^ in., sizes 

I to 8, assorted, per dozen 3 00 

Red sable lettering brushes, hair i| in., sizes i 

to 8, assorted, per dozen 2 00 

Camel's hair lacquering brushes, sizes from f to 

I inch, five sizes, assorted, per dozen i 10 

Flat red sable lettering brush, single-stroke, as- 
sorted, J to I5 in., per set of seven sizes 4 50 

Artists' flat bristle brush, chiseled, Nos. i to 

12, best, range in price each from 8c. to 20c., 

as to size. 



260 THE EXPERT SIGN PAINTER 

Flat bristle varnish brush, chiseled, i^ and 2 in., 
best grade bristles, 21c. and 40c., respectively. 

Flat fitch brush, or sign painters' fitch, ^ to i^ 
in., assorted, 9 brushes, per set i 75 

There are other kinds of sign painting pencils and 
brushes, different catalogues carrying varying kinds, 
but those given in above list are advised by a leading 
sign painter. And there will be required, of course, 
the ordinary house painters' brushes, such as the 
round and flat paint brush, sash tools, fitches, etc. 

Care of Brushes. — Brushes used in sign painting 
are made to be used in water or oil color, and they 
should not be used excepting in the medium intend- 
ed ; for instance, the brush made to use in water must 
never be used in oil or japan color. 

When done using a water color brush, wash out in 
clear water, and rinse until clean. Red sable riggers 
and flats are used in water color work. 

Lettering pencils and brushes used in oil or japan 
color must be washed in benzine and greased with 
cosmoline or lard oil, and the hair should be smooth- 
ed out evenly, and lay the tool flat in a tray. 

Bristle fitches and flat bristle brushes wrap separ- 
ately in paper, with a ribbon of paper, wrapping tight- 
ly towards the ends of bristles, and bending the paper 
over a little beyond the ends of bristles, to preserve 
shape of same, and then stand in a cup of turpentine. 
Thus the tool will be kept from resting on ends of 
bristles, and its shape will be preserved. You want 
to keep the point of the brush in shape. 

Paint brushes should be wrapped in same way, and 
not placed in water, but in a trough of turpentine. 

Dirty pencils may be cleaned by washing in chloro- 
form and rinsing out in turpentine; then grease and 
lay away. 



THE EXPERT SIGN PAINTER 261 

Dirty bristle brushes may be cleaned in fusil oil, 
or paint and varnish remover, letting it soak in same 
until the old paint softens, then scrape oft and rmse 

hi turpentine. ,• . n ^i^o« 

If a lettering pencil falls to the dirty floor, clean 
off by holding it over a pot and pour turpentme or 
benzine over it, which will wash off any adhering dirt. 
If a pencil gets bent, the hairs becoming kmked by 
laying crooked in box, let it soak in turpentme until 
the hair softens, then run it under the finger on a 
warm iron. This will straighten out the kmk, and 
then the tool may be greased and laid away. 

Shop Equipment.— The equipment of a sign paint- 
ing shop will depend upon extent of business done 
and character of same, as far as quantities go but any 
shop will need trestles, or what carpenters call horses 
which should be about 28 inches high. Two at least 
will be required, and as many more as business may 
call for. Ordinary small sign work is done on small 
easel, of which one at least will be needed and for 
larger work one double easel will be required. These 
are 7 feet long by 5 feet high, made from 2x4 scant- 
ling In the uprights bore hole for pegs 5 inches 
apart Stilts also will be required where large work 
is done. A stilt is a piece of scanthng 2 x 4 and in 
length a little more than height of shop ceiling; 
alon^ the ceiling is fastened a strip of wood notched 
at intervals of six feet or so, each notch four inches 
wide; in the notches are placed the stilts. The stilt 
is also useful for standing against the wall, to hold 
si^n For this purpose you may have lengths vary- 
ing- from 6 to 12 feet, which will accommodate the 
various sizes of boards. Thus, the shortest stilts wil 
hold a sign, the next in size another, and so^on unti 
you will have several signs thus held securely out of 
the way. -* 



262 THE EXPERT SIGN PAINTER 

There will he needed ladders, ropes and swings, 
etc., nails, screws, hammers, saws, etc. All for hang- 
ing signs, etc. 

A paint bench of circular form is advised by Atkin- 
son, and has a post in middle supporting shelves 
above and below the table : to the post above table 
fasten paint presses, the shelf above having hole in 
it for the press rod to run through. 

The top of table cover with zinc, which is easily 
kept clean, and color may be ground under the pal- 
ette knife on it. Top of table may be about 40 inches 
above floor, and its diameter may be 40 inches, 
shelves under table the same diameter. Place ball- 
bearing castors on the feet of table. 

Small paint stands are also needed. These for use 
when working at an easel, etc. 

If you intend doing show card work you will need 
a bench for that. This may be a table top three feet 
wide by five feet long, hinged to the wall or to the 
sill of a window. This can have a leg support, with 
a notched strip on floor in which to place the leg at 
any desired angle for work. 

Then there must be a muslin-board 6^ feet wide 
by 25 feet long, this to be placed in ways slanting 
from the ceiling outward, so that paint from your 
brush will not drop on to the muslin below. Fasten 
the muslin to the board with steel clips. The board 
works up and down in the ways. An upright reel at 
the left of the muslin board will hold the roll of 
muslin. 

A handy rack for holding a stock of raised letters 
may be made by making an upright frame 6x10 feet 
from 2x6 plank, with cross pieces at bottom to form 
the base. For holding the letters string copper wires 
across instead of wooden shelves, two wires to a 
shelf, five inches apart, and shelves four inches apart. 



THE EXPERT SIGN PAINTER 263 

V smalt cloth .huuld be provided, made from 4- 
oiince duck, about 40 inches wide, and up to 60 feet 
in length, according to requirements of shop. 

To Make a Sign Painter's Straight-Edge.-- 
To make a sign writer's straight-edge, dress a lath 
true and thin, ^lake a handhold out of a piece of 
board Jr or f inches thick and about six inches long. 
Get the exact center of the lath, and of the hand- 
hold, and drive a nail so that it will go m the centers 
of both, fastening the handhold to the lath ; now bend 
the lath to form a slight bow, then drive two nails 
into the handhold, one at each end of it; the slight 
bow in the straight-edge is flattened out when you 
hold the straight-edge on to the work, so that it is 
not as likelv to slip under the hand when drawing a 
pencil or crayon along it as it would were it made 
perfectly flat. The handhold is handy for holding the 
straight-edge down with. 

H\NDY Brush Palette.— Atkinson says, take 
empty gold leaf book and fasten its first leaf against 
the top of the color stand, in the shop, and let the 
other leaves hang over the edge of the table, ihe 
first leaf may be attached to table with a few drops 
of color As fast as a leaf is filled with color turn it 
over on to the first leaf, and so on tmtil all the leaves 

have been used. , ,, i- r 

Using The Chalk Line.— A handy chalk line for 
banner or muslin work may be made by attaching a 
fish hook, with the barb filed off, to the end of the 
fine and the hook may readily be inserted and re- 
moved by one man. For some work the brad awl is 
useful, and in most work it takes two men to handle 

the chalk line. ^, . ,, 

Materials and Tools, and Cost.— The following 
i^ not a full or complete list, but serves as a useful 
reference for most of the materials and tools not 



264 THE EXPERT SIGN PAINTER 

- mentioned in any of the foregoing lists. Prices given 
are approximate, though taken from a current price- 
list : 

Copper foil, silver or white, 4^x10, per sheet, 5c.; 
crimson, scarlet, blue, green, gold, etc., 6c. 

Tin foil, thick, per pound, 30c. ; medium, 40c. ; 
thin, 45c. 

Pearl, in sheets, Aurora, selected pieces, per ounce, 
50c. ; small pieces, 25c. ; crushed, 5c. 

Frosting and diamond dust, white, in boxes, per 
box, IOC. ; per pound, 40c.; best French, per pound, 
$2.50. 

Gold leaf, lemon, XX, per book, 50c.; pale, XX, 
50c. ; usual, 45c. 

Silver leaf, 3fx3|-in., per book, 15c. 

Aluminum leaf, book of 50 leaves, 5ix5^-in., 15c. 

Dutch metal, several qualities at various prices, 
but N. G. 

Florence leaf, about same as related of Dutch 
metal. 

Bronze powders, several colors and qualities in i- 
ounce papers — antique green, brown, carmine, crim- 
son, copper, dark green, fawn, fire, flesh, green gold, 
lemon gold, maroon, orange gold, pale gold, rich 
gold, silver, steel blue, vermilion. 

No. 500 pale gold bronze powder, for common 
work, per pound, $1.00; No. 1000, rich and pale gold, 
only, per ounce, loc. ; No. 2000, ditto, per ounce, 
I2c. ; No. 3000, rich and pale gold and silver, per 
ounce, 15c. ; No. 4000, rich and pale gold, silver, and 
all other colors, per ounce, i8c. ; No. 6ocx), ditto, 
20c. ; No. 8000, ditto, 25c. ; No. 10,000, rich and pale 
gold, per ounce, 40c. 

French leaf, pale and gold, 35c. 

Lining, No. i, 35c.; extra fine, 50c. 



THE EXPERT SIGN PAINTER 265 

Flitters, or leaf brocades, rich, pale and green gold, 
per ounce, loc. ; silver, 12c.; colors, loc. 

Metallics, or genuine brocades, gold, loc. ; silver, 
15c.; copper, I2C. ; dark green, fire, fuchia, light 
blue, dark blue, lilac, orange, peacock blue, lemon, 
carmine, i8c. 

Patent bronze powders, in many colors, per ounce, 
25c. ; per pound, $2.25. 

Aluminum bronze, genuine, per ounce, 25c. ; per 
pound, $2.25. 

Gold size, burnish, in i-pound cans, 65c. ; oil ditto, 
65c. ; quick drying, per pint, 65c. ; japan, in half-pint 
cans, 35c.; pint cans, 65c.; quart cans, $1.20. 

Gilders' knives. No. 4, single edge, 6-inch blade, 
50c. ; No. 5, double edge, 6-inch blade, 75c. 

Gilders' cushions. No. i, plain, medium, 5x8, 85c.; 
No. 2, plain, large, 6x9^, $1.00; No. 3, fine, large, 
6x91, $1.25. 

Gilders' tips, 4-in. camel's hair, ij to 3 inches, 
counting length of hair, 15c.; tip handles, 5c. 

Gilders' brushes, camel's hair, in split quills, 12c. to 
$1.30 each, according to size. These brushes are 
bound with goose quills, which are split and bound 
around the hair ; thus, a brush that one such quill will 
cover is called one quill, the price being say 12c. and 
so on up. The ends of the hair are cut off square or 
made into a round form. 




266 THE EXPERT SIGN PAINTER 

CHAPTER XLIV. 

Office and Shop Stationery. 

S in any business, the sign painter should be 
provided with the proper stationery, but 
particularly should he use only the best 
of printed matter, good linen paper main- 
y, at least for his correspondence, and so give evi- 
dence of an artistic temperament. Such common- 
places as "Do you believe in signs? We make 'em," 
should be tabooed, as coarse and common. Make 
your letter heads and other printed matter read in a 
good Inisiness form, giving location in tull, as well 
as firm or individual name, avoiding t^vo or more 
colors, getting the printing done by the very best 
printers, and in all ways seeking fine business effects. 
Tt counts with people whose custom it is desirable to 
get and to hold. I have seen all sorts of letter heads 
gotten out by sign painters, and usually they are open 
to criticism. For instance, here is one with the 
painter's picture, not of his face, which might have 
been comely enough, but of the back of his head. 
Another is printed on a vile smelling orange-yellow 
paper ; all these yellow papers smell rank. 

It would be better to use plain linen writing paper, 
of medium weight, and such paper, with the best of 
printing, may be had for about $3.50 per one thou- 
sand sheets, with envelopes to match at about a dol- 
lar less than the letter heads. And if possible, and 
of course it is possible, have a typewriting machine, 
which you can soon learn to use. making a neat and 
business-like letter. ^loreover, the machine will 
make figures perfectly, whicli the pen may not, and 



THE EXPERT SIGN PAINTER 267 

often does not do. I saw in one shop an adding ma- 
chine. This mig-ht be dispensed with, but the writing 
machine is needed : 

Different forms obtain among sign painters for 
sign specifications, but here is a very good one, used 
in a North Carohna shop : 

SPECIFICATIONS FOR SIGN, 

Wilmington, N. C 190.... 

Name 

Address 



Sign to read 

Double or Single Face 

Length of Sign Width 

Vertical or Horizontal 

Letters .-. Size Color 

BackgTound preferred 

Material 

To be delivered 

Remarks 



Signed 



PLEASE OUTLINE SKETCH ON OPPOSITE SIDE 



268 THE EXPERT SIGN PAINTER 




CHAPTER XLV. 
Silvering and Re=silvering Mirrors. 

T would appear, from the number of in- 
quiries received, that sign painters have 
silvering to do at times, and as the pro- 
cess is not generally known, and not easy 
to get, though some enterprising individuals adver- 
tise to teach "the art of silvering mirrors, whereby 
big money can be made," and for the nominal sum 
usually of tw^o or three dollars, I have thought it well 
to give here some account of the best methods for 
doing this particular work. 

The utmost cleanliness must be observed in this 
work. Not only the glass, but everything in and 
aiound the room wdiere the silvering is done must 
be clean and free from dust or dirt of any kind. The 
glass used must be bought for the purpose; ask the 
glass man for silvering quality. Even good ordinary 
plate glass will not do. And marvel not if your work 
should be a failure at first, for it is like other things, 
requires practice to do good work. Remember that, 
and do not find fault with the method chosen or em- 
ployed. Be careful not to scratch the glass, as every 
such imperfection will show up in the silvering. 

There are two w^ays of applying the silvering, as 
you will see by reference to the formulas; one way 
is to lay the glass face dow n in the pan of silvering ; 
the other way is to pour the solution over the face 
of the glass ; by the well-known law of capillary at- 
traction the fluid is kept from running over the edges 



THE EXPERT SIGN PAINTER 269 

of the glass, even when quite above the edges. But 
if the glass is rough or cracked or ragged around 
the edges the solution will run off; prevent this by 
placing a little wax around the edge. Paraffine wax 
will do. A second silvering applied while the glass 
is still damp from the first application will give a 
better job than one silvering will. The backing up 
may be shellac varnish, over which apply a coat of 
japan black thinned w^ith turpentine, or a coating of 
asphaltum varnish. Some cheap glass mirrors are 
coated over with red lead paint only. Have plenty of 
daylight for the work. 

Mirror-background signs may be backed up with 
asphaltum varnish, and when this is dry, allowing it 
at least 24 hours to dry in, the parts that are not 
protected and which are to be removed, may be taken 
away with dilute nitric acid. 

Convex, curved, concave and chipped glass may be 
silvered, but will require more silver solution to the 
square foot than plain glass. Druggists' globes, etc., 
n-.ay also be silvered. Lead and mercury amalgam 
used to be the silvering material, with tin added, but 
owing to the poisonous character of the substances 
it has been discarded. 

Silvering Plate Glass. — In the first place, a clean 
room and clean glass, and in brief, clean everything 
connected with the work, is essential. Have a solid 
table in the center of the room, four feet high, and 
8x6 feet. This table must be lined with steam pipes, 
so that the temperature of the bed of table can be 
kept at from 80 to 100 deg. Fahr. Clean the glass 
with dilute nitric acid, or with strong sal-soda water, 
cleaning after this with a cloth wet with alcohol, then 
polish with tissue paper. The glass must be abso- 
lutely clean. And the glass must be specially made 
01 selected for the purpose. 



270 THE EXPERT SIGN PAINTER 

The silvering formulas are numerous; here is one 
given by a workman of Chicago, who is endorsed 
by a painter as being ''the best workman at the busi- 
ness I ever saw." 

No. I Solution. — Take 80 grains of silver nitrate 
and dissolve it in 10 ounces of preferably distilled 
water. To this add 2 ounces of alcohol and 2 ounces 
of ammonia w^ater. Add the ammonia drop by drop, 
until the precipitate first formed is all dissolved. This 
should stand three or four hours before it is ready 
for use. 

No. 2 Solution. — Then take 6 ounces of water and 
dissolve in it 24 grammes of silver nitrate, and add 
to the same 30 grammes arsenate of copper. Then 
add liquid ammonia drop by drop, same as directed 
w first solution, until dissolved. To this add 2 ounces 
of alcohol. 

Now make a separate solution of 48 grammes of 
potassa in 16 ounces of water. Bring this to the 
boiling point in a suitable dish. Add to this solution, 
while it is hot, the second mixture (Solution No. 2), 
drop by drop, and continue boiling for about one 
hour, then allow it to cool. Then filter it, and it is 
ready to use. 

Place the glass on the table, and make it perfectly 
level. Take some filtered water, a small quantity, 
and add to it equal parts of solutions No. r and 2. 
Mix thoroughly. Pour the mixture over the glass 
as quickly and evenly as possible, and let it stand 10 
to 15 minutes. If, upon examination, the silvering 
vj not brilliant enoug'h, give it another coat of the 
mixture, while the first is still damp. 

After the silvering is dry it may be backed with a 
coat of asphaltum varnish, or shellac, after which a 
coat of red lead paint. 

Method IT. — Make up these two solutions : 



THE EXPERT SIGN PAINTER 271 

No. I. — Dissolve 80 grains of nitrate of silver in 
2 ounces of distilled water. 

No. 2. — Dissolve 80 grains of pure caustic potash 
iit 2 ounces of distilled water. Add water of am- 
monia drop by drop, with continual stirring, to So- 
hition I, until the whole of the silver is deposited and 
redissolved. When this has been accomplished the 
solution will appear quite clear. Then add the pot- 
ash solution (No. 2), which will cause the first solu- 
tion to become black. Add more ammonia water, 
drop by drop, stirring as before. The slower the 
ammonia is added the finer the division of the silver 
will be. When the solution again becomes clear the 
action is complete. A weak solution of nitrate of sil- 
ver is then added, drop by drop, until a very pale 
brown color is attained. Errors may be corrected 
by adding more silver or ammonia as may be neces- 
sary. The silver should be vSlightly in excess in the 
final solution. This solniion should not he kept, as it 
becomes a powerful explosive. Filtering is not rec- 
ommended. 

Take 2^ ounces of the solution and add water to 
make up 8 ounces. Have a suitable shallow vessel 
for the bath, placing two small sticks in the bottom 
for the glass to rest on, then pour on the solution, 
carefully, to avoid any an* bubbles. Let the solution re- 
main on a few minutes. Then the solution is poured 
c\i, and added to it is a 10 per cent, reducing solution of 
grape sugar or sugar of milk. This is then carefully 
poured back into the bath, over the mirror, avoiding 
air bubbles. The deposition of silver begins to take 
place, and the solution becomes muddy. The slower 
the action takes place the harder the deposit. Leave 
until all the silver has been deposited, then pour off 
the solution, and wash off the glass with distilled 
water several times. Dry carefully, to avoid marking 



272 THE EXPERT SIGN PAINTER 

the mirror, and polish plain face of glass with rouge. 
It is done. 

It should be observed that a drop of sweat on the 
silver on the glass will cause a spot that will make it 
necessary to do the work over. The room in which 
the work is done must be kept at a high temperature, 
so that there is danger from sweaty fingers. Be care- 
ful, therefore, when handling the glass. 

For the bath, provide a tin pan of suitable dimen- 
sions, make a mixture of rosin and beeswax, equal 
parts, melt same, and coat the inside of the pan. 
Place two sticks of ^-inch thickness across bottom 
of pan. 

Draper's Method. — Dissolve 560 grains of Ro- 
chelle salts in 3 ounces of w^ater. Dissolve 800 grains 
of nitrate of silver in 3 ounces of water. Add the 
silver solution to i ounce of strong ammonia until 
brown oxide of silver remains undissolved. Then 
add, alternately, ammonia and silver solution care- 
fully until the nitrate of silver is exhausted, when a 
httle of the brown precipitate should remain; filter. 
Just before using, mix with the Rochelle salt solu- 
tion, and dilute to 22 ounces. 

Clean the mirror with nitric acid or plain collodion 
and tissue paper. Take the prepared tin pan with 
sticks in bottom, as directed, and quickly pour in the 
silvering solution. Put in quickly the glass mirror, 
face downward, one edge first. Carry the pan to the 
window and rock it for one-half hour. Bright objects 
should now be scarcely visible through the film. 
Take out the mirror; set it on edge on blotting paper 
to dry. When perfectly dry lay it, face up, on a dust- 
ed table. Stuff a piece of softest thin buckskin 
loosely with raw cotton. Go gently over the whole 
silver surface with this rubber, in circular strokes. 
Put some very fine rouge on a piece of buckskin. 



THE EXPERT SIGN PAINTER 273 

laid flat, on the table, and impregnate the rubber 
with it. The best stroke for polishing is a motion 
in small circles, at times, going gradually round on 
the mirror, at times across on the various chords. 
At the end of an hour of continuous rubbing, with 
occasional touches on the flat rouged skin, the sur- 
face will be polished so as to be perfectly black in 
opaque positions, and, with moderate care, scratch- 
less. 

It is best, before silvering, to warm the bottle of 
silver solution and the mirror in water heated to loo 
deg., Fahr. 

Pettijean's Method. — The glass to be silvered is 
laid upon a horizontal cast iron table heated to 104 
deg., Fahr. The surface of the glass is made clean 
in the usual way, and solutions of silver and tartaric 
acid, suitably diluted, are poured upon it. The liquid 
will not flow over the edges of the glass. In 20 min- 
utes the silver begins to be deposited on the glass, 
and in i^ hours the process is completed. The li- 
quid is poured off and the glass is washed in distilled 
water, dried, and covered with a varnish to protect 
it. But the silvering is likely to yellow, and another 
man invented a method for overcoming this fault. 
The glass, after it has been washed, as described 
above, is sprinkled with a dilute solution of the dou- 
ble cyanide of mercury and potassium. The silver 
displaces a part of the mercury and enters into solu- 
tion, while the rest of the silver forms an amalgam 
white and much more adhesive than pure silver. The 
transformation is instantaneous. The amount of 
mercury fixed does not exceed 5 to 6 per cent. 
The glass is freed from the yellowish tint of 
pure silver. It is also less attacked by sulphur vapors 
and the rays of the sun. It is superior to any other 
silvering. 



274 THE EXPERT SIGN PAINTER 

Martin's Method.— 

A. 

Avoirdupois Weight. 

Nitrate of silver 175 grns. 

Distilled water 10 oz. 

B. 

Nitrate of ammonia 262 grns. 

Distilled water 10 oz. 

C. 

Caustic potash, pure i oz. 

Distilled water 10 oz. 

D. 

Pure sugar candy i oz. 

Distilled water 5 oz. 

Dissolve and add — 

Tartaric acid 50 grns. 

Boil in the flask for ten minutes, and when cool 
add— 

Alcohol I oz. 

Distilled water, q. s., to make up to 10 oz. 

For use take equal parts of A and B. Mix togeth- 
er also equal parts of C and D, and mix in another 
measure. Then mix both these measures together 
in the silvering vessel, and suspend the mirror face 
down in the solution. 

Burton's Method. — 

A. 

Nitrate of silver 25 grns. 

Distilled water i oz. 

B. 

Pure potash 25 grns. 

Distilled water i oz. 



THE EXPERT SIGN PAINTER 375 

C. 

Solution A ^ P^^^- 

Solution B .......; I part. 

\mmonia to just dissolve the precipitate. 
Solution A to just cause a discoloration. 



D. 



PTllS. 



Loaf sugar 2700^. 

Distilled water 20 ^z. 

Nitric acid ^ drms. 

Alcohol (strong) 10 oz. 

Distilled water to make . . .«o oz. 

For use — 

Solution C J ^^' 

Solution D i^™- 

Solution C is subject to slow decomposition; solu- 
tion D, on the contrary, improves by keeping. 

A. A. Common's Method. — 

Solution I.— Nitrate of silver, i oz. ; water, 10 oz. 

Solution 2.— Caustic potash, i oz. ; water, 10 oz. 

Solution 3.— Glucose, i oz. ; water, i oz. 

The al)Ove quantities are those estimated for 250 
square inches of surface. Add ammonia to Solution 
I till the turbidity first produced is just cleared, r^ow 
add No 2 solution and again ammonia to clear ; then 
a little solution, drop by drop, tiU the appearance is 
decidedlv turbid again. Then add No. 3 solution 
and applv to the clean glass surface. By this formula 
a film was produced in 43 minutes at a temperature 

of 56 deg. Fahr. 

Re-Siivering Mirror.— First, the old materialmu.t 
be removed, using for this purpose any orchnary 
paint and varnish remover, and after this is done, 
clean up with common nitric acid and water, say halt- 



276 THE EXPERT SIGN PAINTER 

and half. This may be done with a piece of rag on a 
stick. Then the glass must be made clean with water 
and whiting, rubbing and polishing. Maybe it would 
be well to use pulverized or precipitated chalk instead 
of whiting, which may have grit enough to scratch 
the glass. When clean and bright, carefully examine 
the glass for scratches or other defects, and if any 
are found call attention of owner to the fact. 

Be careful that no acid is left on or around the 
glass or blocks or table. Tarnished or defaced spots 
may be removed by gently rubbing with a flat piece 
of cork and fine chalk powder. Never use a knife 
or spatula on a glass. 

After getting the glass in perfect condition pro- 
ceed to silver it as directed for new glass. 

A writer in ''i,ooo More Paint Questions An- 
swered," says that the materials for re-silvering will 
cost about five cents per square foot, and that you 
ought to charge 50 cents per square foot for re-silver- 
ing, and 40 cents for new work, ''except in cities 
where there are mirror factories." The reason is 
obvious. 

If a large part of an old mirror is to be done, bet- 
ter remove it all and do it all new. It will be the 
cheaper plan, and give a far better job. 

Repairing a Mirror. — Remove the silvering from 
around the damaged parts and make the glass per- 
fectly clean with alcohol and a soft rag. Now take 
a piece of broken mirror and near the edge of it mark 
out a piece of silvering a little larger than the part 
you want to repair, and then place a tiny drop of mer- 
cury on the piece of silvering you are to remove to 
the mirror, and after a few minutes clear away the 
silvering from around the latter and slide the section 
of silver on to the part you af e to repair. This is not 
so easily done, however, and it may require some 



THE EXPERT SIGN PAINTER 377 

practicing on another glass before you will be able 
to repair the mirror successfully. _, ^ „ . , 

Cloudy Stains on Mirrors.— The foUowuig f roni 
an English contemporary will prove interestmg here, 
and may be of service to some one m a hke pred.ca- 

"' W H A writes: I would feel much obliged if you 
could answer me the following question: Some time 
ago we sold a bevel plate mirror to a customer which 
seemed to experienced eyes in good order, but afte' 
a lapse of two or three months the customer brought 
it back and pointed out some smoky or brown stains 
between the silver and the glass, and ^^'shed us to 
replace it with another one. Now, if you could tell 
me the cause and remedy through your columns, 1 
am sure you will be conferring a great benefit to 
those of your suljscribers who are in business, l 
l,ave noticed the same thing on a large sheet of mir- 
ror that was fixed in a large window and got a good 
deal of sunlight on it. Was that the cause of the 
stain? and if so, is there a cure to restore it back to 
its original condition ? The backing of the glass is 
quite intact, and the glass is in good order, only when 
looking at it at a certain angle this brown smoky 
smear in large patches is to be seen. I hope you can 
throw some light on this matter for me. 

The following reply is based on the assumption 
that the inquirer does his own bevellmg and silver- 
ing: Stains, varying in color, density, etc., are more 
offen caused by imperfectly swi ling off the P«ch or- 
ide of tin wash, consequently there is more solution 
of tin on the glass than there should be. Before we 
could treat the matter thoroughly we should know 
(I) are you making your own tin solution or whose 
are vou using (Firm.) ? (2) .\re you sure your dis- 
?ined wa er if not contaminated ? (3) What are you 



278 THE EXPERT SIGN PAINTER 

precipitating your nitrate of silver with, RS or TA ? 
(4) Are you working with your "table" too hot or by 
the cold process? (5) What are you backing up the 
plates w^ith, after silvering? Stains as described are 
of constant occurrence, and very annoying as well as 
expensive. And the items we have enumerated are 
all factors to be reckoned with, when good lasting 
work is demanded. When the silvering is properly 
done any amount of sunshine should not affect it, but 
even then, if the backing is not the correct one to 
use, there are sure to be stains', and cloudy patches 
develop. The questions you have asked are of a 
purely technical nature, and cannot be answered in 
an offhand, haphazzard manner. 

To Prepare a Transparent Mirror. — The fol- 
lowing' process for producing a mirror which reflects 
from one side, but is transparent from the other, has 
been patented in Germany : Dissolve i part by 
weight of silver nitrate in 10 parts by w'eight of water 
and label No. i. Prepare another 10 per cent, solu- 
tion of silver nitrate, but in larger quantity; to this 
add ammonia water, drop by drop, stirring carefull}' 
until the precipitate formed at first is completely dis- 
solved, and label No. 2. Now add solution No. i to 
solution No. 2 until the odor of ammonia is no longer 
recognizable and the liquid has again become very 
turpid. Now add 100 parts by weight of distilled 
water for every part of silver nitrate originally used 
in solution No. 2, and filter until clear. Label this 
No. 3. Prepare a reducing solution by dissolving 0.8 
part by weight of Rochelle salt in 384 parts by w^eight 
of distilled water, boil, and to the boiling solution add 
gradually a solution of 3 parts of silver nitrate in 10 
parts by weight of distilled w^ater, and filter when 
cool, and label No. 4. Clean the glass to be coated 
thoroughly, lay it on a perfectly level surface in a 



THE EXPERT SIGN PAINTER 279 

room at a temperature of about 25 degrees C. {^'j 
cleg. F.). Mix equal parts of No. 3 (the depositing 
iiuid) and No. 4 (the reducing fluid) and pour over 
the glass. The glass may, if preferred, be dipped in- 
to the solution. The time required for the deposi- 
tion of the layer of silver of just the correct thickness 
has to be determined by the judgment of the opera- 
tor in each case, and this may be aided somewhat by 
observing a piece of white paper below the plate of 
glass. When a sufficient deposit of silver has been 
made, and much less is required than for an ordinary 
mirror, pour off the silvering liquid and rinse thor- 
oughly with the distilled water, and stand the mirror 
on edge to dry ; coat the silvered side with a solution 
of colorless shellac in alcohol and finally frame the 
mirror with a backing of clear glass to protect the 
mirror surface from being scratched. 

Cleaning a Mirror. — Mirrors should be washed 
with cold w^ater, using a chamois leather and soft 
cloth. They polish more brightly if washing blue is 
added to the water or, better still, if a little wood ash 
is tied up in muslin and allowed to dissolve through. 
The use of a paste of whiting is not to be commend- 
ed. It certainlv produces a good polish, but it is 
liable to be gritty and produce unsightly scratches on 
the surface of the glass, and all too frequently it 
forms an unsightly margin where it works its way 
under the frame. An old silk handkerchief makes an 
excellent polisher for mirrors, as does likewise tissue 
paper of good quality. 

How Plate Glass Is Prepared For Silvering. — 
The following description of the modern method of 
making or preparing plate glass for silvering is taken 
from the FurniHire Journal, ix ova an article by George 
W. Mueller: 

The major portion of all plate glass that is used 



280 THE EXPERT SIGN PAINTER 

for mirrors to-da}, and for mirrors for the furniture 
manufacturers in particular, is, of course, produced 
in the United States. Still enormous quantities are 
imported into this country annually from France, 
Belgium, England and Germany for the purpose. 
The better or selected qualities of plate glass, ''silver- 
ing qualities," as they are called, are only used. For 
a time the American manufacturers of plate glass, in 
their efforts to sell quantity rather than quality, were 
producing, with few exceptions, an inferior grade of 
glass, comparatively, than that of the European 
manufacturers. Now conditions have changed, and 
the majority of the American manufacturers, having 
realized the folly of their ways, are making glass that 
runs away ahead of that of their European cousins 
in qualit}^ 

This plate glass reaches the mirror factory in regu- 
larly established sizes. Every furniture factory, as a 
rule, has individual patterns for mirrors that fit the 
various ''pieces" that they are making, and they sup- 
ply the mirror maker with paper templets of the ex- 
act shapes. The plate glass is cut to these various 
shapes, and after this is done the glass is ready to be 
beveled. 

The beveling of glass is done by machinery, and 
each glass must pass over five different machines be- 
fore the bevel is completed. The first machine that 
receives it is the roughing mill. This mill consists of 
a steel disc two inches thick and thirty inches in di- 
ameter, set to revolve horizontally. Directly over 
this revolving disc immense hoppers are suspended 
containing sand and water, w^hich are automatically 
fed on to the revolving disc as required. The opera- 
tor 'takes the plate of glass to be beveled and holds 
it on to the revolving disc at the required angle, which 
{■r determined by the width of the bevel desired. In 



THE EXPERT SIGN PAINTER 281 

this way the glass is ground in niuch the same man- 
ner as one would grind an ax. The sand and water 
on the revolving disc then grind away the glass, leav- 
ing it very rough, and resembling closely the ground 
glass one sees in partitions and windows. To smooth 
down the coarseness the plate is run over the emery 
mill. The emery mill is identical with the rough mill, 
but is fed with emery and w^ater instead of sand and 
water, as on roughing mill. After the glass leaves 
the emery mill the bevel still looks like ground glass, 
but the grain is much smoother and finer than after 
the roughing process. 

The next step is the smoothing stone. This is a 
quarried stone, and all the stones that are used for 
the purpose in this country are imported from Eng- 
land, as we have yet to find a quarry here yielding a 
stone free enough from iron spots and of a smooth 
enough grain and of the proper consistency to be 
available for the purpose. These stones are turned 
down until they are four inches thick and about thirty 
inches in diameter. They are then mounted on ma- 
chines that revolve horizontally. They must run ab- 
solutely true and even and without vibration, other- 
wise a great deal of breakage would result. The 
glass is handled on this stone in the same manner as 
on the roughing mill, and after the smoother has fin- 
ished with the plate the ground effect on the bevel 
has disappeared entirely, and instead it has a hazy 
appearance. It is still in such shape that one cannot 
look through the beveled part. For smoothing the 
bevel of plates of intricate pattern a special smooth- 
ing stone is used ten inches thick and in the shape of 
a cone, and is mounted on machines with the point 
up. This stone is used regularly where the bevel 
must follow a curve in the pattern. From the smooth- 
ing stone the plate is taken to the 'Svhite wheel." 



282 THE EXPERT SIGN PAINTER 

The white wheel is a large vSolid wheel made of spe- 
ciall}^ selected southern white wood, and is set in the 
machines to revolve vertically. It is three inches 
thick and from two to three feet in diameter. By 
means of a mechanical appliance (a part of the ma- 
chine) the revolving surface is fed at will by the oper- 
ator with a mixture of ground pumice stone and 
water. AMien the white wheeHng operation is com- 
pleted the bevel is clear and transparent, but it still 
lacks the finishing polish that gives the completed 
bevel its lustre. For this last polish it is sent to the 
polishing wheel or buffer. 

The polishing machines consist also of wood 
wheels, three inches thick and twenty-four inches in 
diameter and revolve vertically like the white wheel. 
But the outer rim or working edge of this wheel is 
covered with heavy felt two or three inches thick, and 
this felt when treated with the polishing rouge does 
the polishing. The rouge used is a red powder made 
of various materials especially for the purpose. The 
result of this operation insures a finishing polish of 
the highest degree of perfection. This polishing 
completes the bevel. 

How THE Silvering is Done. — Mr. Mueller then 
goes on to describe the silvering process : 

When the plate reaches the silverers it is first 
placed on the washing tables, and carefully and thor- 
oughly w^ashed by hand with water and putty powder 
and felt hand blocks. It is then thoroughly rinsed 
with distilled water to remove all impurities, as ordi- 
narv water contains too much chemical matter that 
would injure the silvering. It is then ready for sil- 
vering, and while still wet it is placed on the silvering 
tables. The silvering tables are immense hollow 
tables with stone or concrete tops and a closed-in 
steam heating system underneath that thoroughly 



THE EXPERT SIGN PAINTER 283 

heats it The stone top is covered first with a canvas 
cover and then with a woolen V)lanket to help retam 
the heat and keep it at an even temperature Onto 
these tables, then, the glass is laid with the t^ont or 
face side down, and onto the back or reverse side the 
silver solution is poured. 

The formulas for the silvering solution have always 
been more or less of a trade secret, but there are so 
many different formulas in use to-day that really 
there is no standard. The basic principle of all suc- 
cessful silvering formulas is the dissolvmg or cuttmg 
down of nitrate of silver (which is chemically pure 
metal silver reduced to crystal form) with ammonia 
to reduce it to a liquid state and then adding an acid 
solution of Rochelle salts, or tartaric acid, to pre- 
cipitate the silver in metal form out of the solution 
and onto the glass. The solution when ready for use 
looks very much like water, but the effects of the 
acid and the heat of the tables, after it has been 
poured onto the glass, gradually change its color 
until one can see the metal silver slowly begin to 
form and spread in the shape of a thm film of rnetal 
over the surface of the gMss. The fine art m silver- 
irg mirrors is in the mixing of the various materials 
that go into the solution, and the ability of the sil- 
verer to judge the chemical action after the silver 
is on the glass. The working of the solution must 
be watched with identically the same care that is ob- 
served in the developing of a photographic negative, 
and very manv like difficulties have to be overcome 
ill both. A successful silverer is born and not made, 
and there are but few really successful silverers to- 
day. , , 

After the solution has been poured onto the glass 
it requires from one-half to one hour's time for the 
silver to form in good shape. As soon as this occurs 



284 THE EXPERT SIGN PAINTER 

the plate is taken up and the superfluous solution is 
allowed to run off. The coating of silver is then 
carefully wiped dry with chamois skin. The plate 
must be handled most carefully when in this shape, 
as the silver is so sensitive that a touch of the finger 
would leave a mark. The perspiration from the hu- 
man body is most injurious to the silvering, as it 
contains so much salt and alkali. As the rooms in 
which the silvering is done naturally become over- 
heated from the silvering tables the silverers are al- 
most continually perspiring. The slightest drop of 
the moisture on an unfinished mirror would ruin it, 
and it naturally follows that the silverers must be 
most careful on this point. 

After the actual silvering is completed the plate 
must still be treated wnth a coat of shellac and a coat 
of paint as a protection for the silver. For the shel- 
lacing the finest grade of orange gum shellac, cut 
down with alcohol, is used, and this is applied direct- 
ly over the silver with the finest of camel's hair 
brushes. When this is dry a coat of paint is applied 
over the shellac. The paint used is a special one for 
the purpose, and must be entirel}^ free from oils and 
acids that would have a detrimental effect on the 
silver. When painted the mirror is placed in drying 
rooms until the paint is thoroughly dry. It is then 
thoroughly cleaned and polished with cloth and dry 
pumice stone by hand, and is then complete and 
ready to take its place and to do its duty. 



THE EXPERT SIGN PAINTER 285 



M 




1 


Bfe ^^ 


M 



CHAPTER XLVI. 
Drilling Holes in Plate Glass. 

T is sometimes desirable to bore plate glass, 
as in hanging window signs, as well as in 
large plates for various purposes, but 
mainly for fastening them in windows. 
Also, it is sometimes necessary to bore a hole in or- 
der to repair broken parts. Owing to the fragile na- 
ture of glass it is rather difficult to bore into it suc- 
cessfully, yet it is often done by those accustomed to 
tlie work, and may be done very well by the amateur 
i' he is careful and understands how to do it. 

Turpentine supplied to a small steel drill will en- 
able one to bore through, but it takes lots of time 
and patience, and the hole is not always just as nice 
as might be desired. The hole is apt to taper from a 
large one at the top to a small one at the bottom, and 
it is difficult to drill two holes of the same size with 
the one tool. A writer in the Scientific American 
gives the following formula and method as being 
superior to anything he has ever tried for the pur- 
pose. He uses a fluid composed of two fluid ounces 
of pulverized camphor and six drachms of sulphuric 
ether, adding enough turpentine to fill a six ounce 
bottle full. It has been developed after many experi- 
ments with different mixtures, and it is claimed for it 
that it will prove superior to anything heretofore 
known. With a bastard file wet with it, a piece of 
plate glass may be put into a vise and filed like wood ; 
any other cut of file may be used, but where there is 
niuch glass to remove, the coarser the file the better. 



S86 THE EXPERT SIGN PAINTER 

For drilling small holes, a brass tube of the diameter 
of the hole wanted is better than a drill. The tube 
should be made smooth on the end that is to come 
ir contact with the glass, and charged with carbo- 
rundum powder, or what is better, diamond dust. 
In starting the hole a piece of wood having a hole 
drilled in it of the size of the brass tube should be 
cemented to the glass, the hole being located over 
the spot where the desired hole is to be made. A 
hole should be made in the side of the tube by filing 
into it with a round file, and it may be turned either 
by a drill press, or by one of the small, geared, hand- 
drill stocks used for small drihs. With a small brush 
dipped in the solution wipe the hole so that a little 
of the mixture will run down inside the tube, and 
onto the glass where the hole is being made, and the 
tube will be found to enter the glass with surprising 
ease. If it is desired to have the edge of the hole 
sharp where the tube comes through, cement a small 
piece of g-lass to the under side of the plate being 
bored, and when the tube is through, continue the 
boring until it has entered the lower plate slightly. 
Glass cut with the diamond will often break uneven- 
ly, and fail to fit a window sash ; circles cut out for 
the dials of instruments of the clock class, circles for 
static electric machines, glass covers for galvano- 
meters, ammeters, and many other instruments are 
often thrown away, when a touch with a file wet w^ith 
this solution would save them. It is especially rec- 
ommended to glaziers to remove the sharp edges of 
the glass cut with the diamond, which often cut the 
hands. 

Boring may be done with an ordinary steel drill, 
but a broach drill is better, and may be used by hand 
or with a bow. The bow is a very simple and con- 
venient means of rotating a drill. Select a 1)roach 



THE EXPERT SIGN PAINTER 287 

drill of a bore that will make the hole of the right 
size at about one inch from the end. It should be 
broken off sharp with a pair of pliers at about one 
and a half inches, and when the sharp edges are 
blunted by drilling, a fresh end should be made by 
breaking off one-eighth inch, and so on until the hole 
is bored . Drill from both sides, to insure safety from 
breakage. Drill very lightly, and lubricate the drill 
with turpentine, oil of lavender, or a little camphor. 
If you wish to remove a large disc from thm glass, 
making a large hole, press a disc of wet clay upon 
the glass, making a clean-cut hole through the clay, 
of the size you wish the hole in the glass to be, and 
upon the glass thus laid bare within the clay pour 
molten lead, whereupon lead and glass disc will both 
drop out. Putty is even better than clay for this pur- 
pose, as wet clay is apt to make the hot lead sputter 
Be sure to keep the end of the copper tube drill 
perfectly flat, or otherwise it wiU not hold the emery 
well The tendency of the driU is to wear round. 

Perhaps the best of all methods for drilling glass 
is that of the diamond drill, because the cutting part, 
being diamond, needs no re-cutting, as steel and 
other soft metals do, and is always ready for use 
Make the diamond drill as follows : Fit a brass drill 
to the drill stock, sawed down a little distance with 
a notched knife to allow a splinter of diamond to f^t 
tio-ht fixing the splinter in the split wire with hot 
shellac or sealing wax. Use the drill dry, and handle 
ii: with care. Very large holes may be made by drill- 
ing small holes close together, in the circle of the size 
hole required, and then filing away the narrow con- 
necting parts of the small holes. 

Procure a case hardened drill, slightly twisted at 
the point, and with a carpenter's brace, proceed to 
drill the glass as if boring a hole in a piece of wood. 



288 THE EXPERT SIGN PAINTER 

meanwhile keeping the point of the drill moist with 
turpentine. Drill the glass half way from each side, 
in order to prevent chipping around the edges of the 
hole. For a small hole, an ordinary hand saw file will 
suf^ce. Break off the front end of the file and grind 
to a blunt pyramid point. Whenever convenient to 
do so, the glass should be lain flat for drilling in order 
that the turpentine may not flow off from the point 
of the drill. 

The use of a liquid under the boring tool is impor- 
tant and essential, and one of the best, being very 
eft'ective, is made up of chemically pure ether f ounce, 
camphor gum i ounce, turpentine ^ ounce. A few 
drops of this liquid placed on the glass will enable 
the tool to bore into the glass readily. Emery pow- 
der, moistened with water, is useful also. 

Glass may be perforated in the following manner : 
Have a ball of putty or wax, stick this on the spot 
where the hole is desired, then make a hole through 
the wax or putty the size you desire the hole in the 
glass, and pour acid in this hole. This will make the 
glass so soft at this spot as to allow the hole to be 
made very easily. Be very careful not to get acid 
on the hands or clothing. 

To bore holes in a glass plate sign, use a rotary 
brass tube, filled with emery powder, kept damp with 
water. This is especially good for boring heavy plate 
glass. Keep the grinding end of the brass tube per- 
fectly flat, its tendency being to wear round, whereby 
it would not hold the emery well. 

Use a steel drill moistened with turpentine. (The 
drill must have a long point and plenty of clearance.) 
To file glass use a 12-inch mill file, simple cut and 
moistened with oil of turpentine. Large holes can 
be cut more rapidly with a tubular steel tool, made 
like a file at the end or with teeth. It is well to back 



THE EXPERT SIGN PAINTER 289 

the glass with a sheet of lead, to prevent breakage by 
uneven pressure. 

Secure an old three-cornered file the size of the 
hole desired in the plate and grind two sides of it to a 
point. This file can be put in, held and turned the 
same as a bit in an ordinary carpenter's brace. 
Lay the glass on a smooth surface with a small 
piece of cloth under the place where the hole 
is to be drilled. Take some soft putty and make a 
small ring around on the glass and fill the 
cuplike place with turpentine. Take the brace with 
the drill and begin boring the same as if boring in 
wood. Use a slight pressure on the brace, and in a 
short time you will have a clean-cut hole. A hole can 
be drilled in this way through the heaviest plate glass 
made. — E, L. Kayser in Popular Mechanics. 

Another way : Heat drill to white heat and dip it 
into quicksilver to harden. Sharpen on whetstone, 
moisten with solution of camphor and oil of turpen- 
tine, keeping the bare hole moist, and glass may be 
drilled Hke wood. 

Cutting a Round Hole in a Window Light. — 
Mr. Charles E. Copp, a master car painter of New 
England, and well known writer, tells of a job of 
glass cutting that he was called to do, and how he 
did it. I will give his own interesting account of the 
process: "The cashier of the freight house wished 
to have a hole about three inches in diameter cut 
through his window to converse with customers 
through, instead of having to raise the sash and let 
in the cold. As I said, this appears simple enough, 
and a greenhorn would suppose that all you need to 
do is to run your diamond around the pattern the 
size you wish, when the circular piece would drop out 
or be easily knocked out; but here is the rub — to 
get that piece out without injury to the remainder of 



290 THE EXPERT SIGN PAINTER 

the pane. And the only successful method that I 
know of — and this is practiced in the glass stores and 
shops in Boston — is to cut with your diamond a cir- 
cle the size you wish with the aid of a thin wooden 
pattern (if you do not have a trammel with a diamond 
ir< it for cutting circles of all sizes) and then cut up 
this circular piece of glass into five checks by laying 
it all off into parallel lines one way less than one- 
fourth of an inch apart, being careful not to run your- 
diamond over the circle nor quite to the edge; and 
then, at right angles with these lines, proceed in Hke 
manner to cut other parallel lines crosswise of these, 
thus laying it off into checks. I will not add any dia- 
gram, as I think you will get my meaning without it. 
Now lay your glass face down on your level glass- 
cutting board, if it is not set in a sash (if it is and in 
a window you can do it without), and by gentle taps 
with the handle of your diamond, or what is better, 
with the top end of a flat file, proceed to break the 
circle that you have cut clear through the glass all 
around. When this is done, hold the face of a ham- 
m.er against the center of the circle on the opposite 
side of the cut, and with a file, the end of which has 
been broken off, proceed by gentle taps, on the other 
side, against the face of the hammer, to pulerize the 
glass suliliciently to put a hole through it, and then, 
by working very carefully from this hole in the same 
manner, continue to make the hole larger and larger 
toward the rim of the circle until you reach it and 
get a piece or two out, when all will readily fall out, 
leaving a clean-cut hole, free from cracks around it, 
which needs only to be smoothed with a whetstone 
and water, or, what is better, with a little grindstone 
and water, with the grindstone on an c'rbor running 
by power. If through plate glass the edges of the 
hole can be beveled and a nice effect produced. You 



THE EXPERT SIGN PAINTER 291 

will find that this circle so binds in its place to the 
very last, though cut clear through the glass, that it 
will not let go until a segment of the rim is carefully 
worked out, and you will need to be very careful that 
a crack does not jump across the circle into the pane 
of glass and spoil it. Of course in this, as in most 
other things, 'practice makes perfect.' If any reader 
of this knows of a better way to do this, let him not 
hold his peace. I have heard of several recipes for 
doing it, such as heating an iron ring hot and putting 
it upon the glass; but like most book recipes they 
are not practical. Who would want to make an iron 
ring for every size of circle he wished to make ? The 
real trouble is in getting the piece out after you have 
cut it, and that can only be done by pulverizing and 
punching it out.'' 

The master painter of a railway company gives the 
following account of a "simple arrangement for drill- 
ing holes in glass." He says : 'Tt frequently becomes 
necessary to drill holes in glass signs, for the purpose 
of hanging them up, etc., and for this purpose the 
device here described and illustrated is intended. 
Get the wood turner to turn you out a main shaft of 
any suitable wood, and into it fit a balance arm load- 
ed at the extreme end with lead, to make it heavy. 
At the upper end of main shaft have a revolving knob or 
handle, such as are used on a carpenter's brace and bit. 
Then at the lower end of shaft bore a tapering hole to 
hold the steel drill, which any good tool dressing black- 
smith can make. The drill should be made about 2 J or 3 
inches long for an ^-inch drill, and proportionately 
longer for any of the larger sizes, and should be three- 
cornered at the end, and of good tempered steel. 
When boring the hole the glass must be kept wet 
with spirits turpentine. Give the drill a rotary swing 
to start it, and the balance arm with the loaded end 



292 THE EXPERT SIGN PAINTER 

will easily keep the drill in motion, with a small exer- 
tion on the part of the operator. Place a small piece 
of sole leather or leather belting under the glass 
where you want the hole, as a safeguard against 
breakage. You will be surprised how easily and 
quickly you can drill a hole through the glass, and a 
little practice on the part of the operator will soon 
make him proficient in the operation. If it becomes 
necessary to have the hole any larger than the size 
of the drill, a small tapering 'rat-tail' file, saturated 
with spirits turpentine, will soon make it as large as 
desired. It is important that the drill or file shall be 
kept well wet with turpentine." 



THE EXPERT SIGN PAINTER 



293 




CHAPTER XLVII. 
Gold Leaf Manufacture. 

S far as the beating out of gold into thin 
leaves is concerned the art has made very 
little progress in the past three thousand 
j^^^^^ years, for practically the same method was 
pursued bv 'goldbeaters when Solomon was buildnig 
liis famous temple, when Tyre and Sidon ruled the 
seas when Carthage disputed with Rome the supremacy 
of the world, as at present. Gold leaf as thm as any we 
make, has been found in the coffins of Egyptian mum- 
mies While we admire the delicate skill of the mod- 
ern gold beater, one must be still more astonished at 
the skill of the ancients, who lived in an age not 
marked by high civilization. ^ 

It is amazing to what extent this precious ancl duc- 
tile metal may be expanded by hammering. Take a 
cube of the metal five-eighths of an inch square, and 
the beater will hammer at it until it will cover the floor 
of a room 12x12 feet. He will take a bit of gold no 
larger than a pin head, and flatten it out until it will 
cover ^5 square inches. Gold may be beaten until an 
ounce will ^cover 146 square feet of surface and re- 
require 32,000 sheets to equal an inch m thickness. 
But this is not the limit. By the weight and measure 
of the best wrought gold leaf, it is found that one 
^rain is made to cover 56! square inches ; and from the 
specific gravity of the metal together with this aameas- 
urement, it follows that the leaf itself is i-28o,oooth of 
an inch thick. This, however, is not the limit of the 
malleabilitv of gold, for the gold beaters find it neces- 



294 THE EXPERT SIGN PAINTER 

sary to add three grains of copper in the ounce to 
harden the gold, which otherwise would pass round the 
irregularities of the newest skins, and not over them; 
and in using the old skins, which are not so perfect and 
smooth, the}' proceed so far as to add twelve grains. 

Marvelous thinness, but a child can take a few drops 
of water, and adding a little soap to it, blow it out 
until it will take about fifty millions of the films to 
equal an inch. 

How The Leaf Is Made. — Leaf is beaten out with 
hammers of various weights, the heaviest weighing i8 
pounds, and the lightest 7 pounds. But to begin at 
the beginning, first an alloy of the desired color is 
made, then the metal is placed in a crucible and melted ; 
after which it is made into ingots and flattened out by 
rollingbetween a pair of powerful steel rolls, which pro- 
duces a ribbon an inch and one-half wide, and ten feet 
in length to the ounce. After being flattened it is an- 
nealed and cut into pieces of about six and a-half 
grains each, and placed between the leaves of a 
"cutch," which is about half an inch thick and three 
and a-half inches square, containing about 180 leaves 
of tough paper, manufactured for the purpose. This 
is beaten on for about twenty minutes with an 18- 
pound hammer, by which the gold is spread to the size 
of the cutch. Each leaf is then taken out and cut in 
four pieces. These are put between the leaves of a 
"shoder," four and a-half inches square and three- 
(juarters of an inch thick, containing about 720 skins, 
which have been worn out in the "mould" or finishing 
process, described later. The shoder requires about 
two hours beating with a 7-pound hammer. Each leaf 
is again cut in four pieces and placed between the 
leaves of a ''mould," composed of about 950 of the 
finest gold beaters' skins, five inches square and three- 



THE EXPERT SIGN PAINTER 295 

quarters of an inch thick, the contents of one shoder 
fining three moulds. The material has now reached 
the last and most difficult stage of the process. During 
the first hour the hammer is allowed to fall principally 
on the center of the mould. This causes gaping cracks 
upon the edges of the leaves, the sides of which readily 
coalesce without leaving any trace of the union after 
being beaten upon. At the second hour, when the gold 
is about the 150,000 part of an inch in thickness, it for 
the first time permits the transmission of light. If the 
gold is pure, or but slightly alloyed, green rays pass 
through^; when highly alloyed with silver, violet rays 
appear. As a rule about four hours' beating with a 
7-pound hammer is required. A single ounce of gold 
will at this stage trim to about 1,200 leaves three and 
a-quarier inches square. The finished leaves are taken 
out of the mould, and the rough edges trimmed off by 
slips of the ratan fixed in parallel grooves of an instru- 
ment called a wagon, the leaf being laid upon a leather 
cushion for that"^ purpose. The leaves are placed in 
''books," capable of holding twenty-five leaves each, 
which have been rubbed over with red ochre to prevent 
the gold from clinging to the paper. 

The gold beater works like a machine, shifting the 
hammer from one hand to the other without once miss- 
ing a blow. Each blow must be carefully directed 
uniformly and evenly throughout. The book called 
the shoder reduces the gold leaf sixteen times thinner 
than the original ribbon. The original 180 leaves are 
now cut into 2,cS8o. In the final beating extra care 
must be exercised, as a false blow might tear the leaves. 
Neither paper lior vellum can be used to separate the 
leaves in the last hammering, the only satisfactory sub- 
stance ever found being the outer coat of the caecum 
or blind gut of the ox, which is specially prepared. 



296 THE EXPERT SIGN PAINTER 

The preparation of this gut is interesting. When 
stripped off in lengths of two or three feet the}* are 
treated with an alkah sokition, to free them of grease. 
Xext they are made perfectly clean, and doubled over 
so that they stick and unite together. Various chemi- 
cals are then applied to increase the toughness of the 
material, after which thev are readv for the s^old 
beater. Although very tough and durable, the skins 
can be used for only aljout 200 beatings, and then new 
ones must be used. The cost of the skins can readily 
be computed when it is stated that for one mould from 
150 to 500 oxen must be killed. The skins are in fact 
costlier than the gold placed in them. Often S45 l«> 
S50 are paid for the skins of a single mould. 

Four hours of hammering with a 77pound hammer 
is necessar\- to produce leaf suitable for a sign. 

Easy as this work of beating out the gold may seem, 
it is, in reality, an art of a very delicate description. 
The workman must know to a nicety how hard or gen- 
tle the blows of his hammer must be, and also the exact 
spot on which they should fall. Accordingly, a ver\ 
superior class of men are employed in the business. 

Recontiry of the Waste Leaf. — An important 
consideration in gold beating is the recover}^ of the 
waste. There is a specific amount which must be re- 
covered by each workman from the trimmings and 
scraps, and for all that each one returns above this he 
gets one dollar a pennyweight. 

Gold beaters generally work with bare arms, and 
after their day's work wash hands and arms to re- 
cover the gold. Hair and clothes are shaken tho- 
roughly for the same purpose. The fine particles of 
gold lodge ever\where, and occasionally a complete 
cleaning of the shop is made to secure these particles. 
In a shop which wa« recently torn down to make 



THE EXPERT SIGN PAINTER 297 

room for a larger building, nearly live hundred dollars* 
worth of gold was recovered from the woodwork. 
floors and ceilings. 

Number of Gold Beaters. — There are twent}' to 
twent\--live gold beating establishments in this countrv*. 
most of which are located in Xew York and Philadel- 
phia, and upwards of 500 workmen are employed in 
them all. There are about fonv gold beaters in 
Chicago. 

Although the nimiber of men who manufacture gold 
leaf is comparatively inconsiderable, their product is 
vers- valuable, "a little gold leaf going a ver\- long 
way," as one maker put it- 
How They A\'ork. — The long, low building in 
which the work is carried on is filled throughout the 
day with the soujid of hammers. On ever}- side little 
boxes containing tiny rolls of gold are to be seen. 
which, although only measuring an inch and a-half in 
length, are each worth about S50. The gold is re- 
ceived in bars one-eighth of an inch in thickness, an 
inch in width, and weighing 240 pennyweights. This 
is rolled out into a ribbon thirty yards in length. 

It is tlien given to the workmen in strips measuring 
seven yards, each of which is cut up into 180 pieces. 
These are now ready to be beaten out by hand. They 
are placed (protected by line skins ) in a tool known as 
the "cutch,'' and are thoroughly pounded out on a 
great granite block, set in the ground in such a way 
that there is absolutely no vibratory movement. 

Amount of Alloy. — A certain amoimt of alloy 
must of necessitv ^o into the metal before in can be 
beaten into thin leaves, leaves so thin that it is said 
that the ordinary kind measure 2S2, 000th of an inch, 
while that m.ade by the French is said to be as thin 
?x^3.m as this, or ver^- nearlv so. An ounce of sfoM 



298 THE EXPERT SIGN PAINTER 

may be beaten into i,6oo leaves of three inches square 
each. Ordinarily about one-eightieth part of the leaf 
is alloy. This alloy is silver or copper, or in some 
cases both are used together. The silver, of course, 
lightens the color, and the copper deepens the color. 
But the beater cannot add too much alloy, for then he 
could not beat out his leaf as thinly as where less alloy 
is used, and hence he would get more gold into his leaf 
because of the increased thickness of it. 

There are several shades of gold leaf. The medium 
is perhaps the most generally useful to the sign painter. 
Upon exposure outdoors the leaf will of course tarnish 
some, and to overcome this it is sometim.es recom- 
mended that the leafed letters be coated with a coat of 
clear exterior varnish. But the medium leaf gives 
good service outdoors without any protective coating. 

The best gold leaf for gilding on wood is the XXX 
brand, and the American leaf leads the world. 

In buying gold leaf be careful to get it from a manu- 
facturer of known reputation for good leaf. Of course 
he makes poor leaf, too, for special purposes, but sells 
it for what it is. 

Testing Gold Leaf. — Test gold leaf by touching it 
with a nitrate of silver solution; if alloyed this will 
show a gray effect. 

Pour a few drops of aqua fortis on a clean piece of 
glass and lay a piece of gold leaf so that one part of it 
rests on the aqua fortis and part on the dry glass, and 
by holding the glass against the light it can be seen 
whether the gold has been attacked or partly decom- 
posed by the aqua fortis. Pure gold will resist the 
acid, while all alloys will resolve. 

Patent Leaf. — What is known as patent gold leaf 
is simply ordinary gold leaf that has been so fixed to 
the book in which it is placed that it adheres to the 



THE EXPERT SIGN PAINTER 299 

paper so that it will not readily blow away, but will re- 
main smoothly attached and allow of cutting or hand- 
ling until it touches the size to wdiich it is to adhere 
permanently. It is well adapted in this form for out- 
doors use, or for indoors use as well, on anything but 
glass. There is less waste than with the loose leaf, 
and it is easily handled, especially by the amateur. 
The idea of fastening the gold leaf to the paper of the 
book has long been known to sign painters, and just 
why the process is now called ''patent" we are unable 
to explain. 

Weighing Gold Leaf. — The best way to ascer- 
tain the thickness of the gold leaf is to w^eigh a piece of 
known area. Thus, a square meter will weigh from 
2.14 to 2.76 grams, and as the specific gravity of the 
gold is about 19.3, the thickness cf the leaf must be 
.0001 T-. 00014 millimeter (say about one two hundred 
thousandth part of an inch). For the sake of com- 
parison it may be mentioned that a square meter of 
thin cigarette paper weighs from 7 to 8 grms., although 
its substance has a specific gravity so much less than 
that of gold. The gold leaf is green by transmitted 
light. 

Gold Leaf In Germany. — Vice-Consul Oscar 
Bock, of Nuremberg, submits the following report on 
the industry of making gold leaf in Germany : This in- 
dustry is carried on principally at Nuremberg, Furth 
and Schwabach by several large concerns and many 
small ones. The total output is estimated by one of 
the leading concerns at 6,000 packets of 500 leaves each 
per week, the value of the annual product being prob- 
ably about v$i, 500.000. The cost of production per 
packet of 500 leaves, 3I inches square, is said to be 
approximately 4.5 marks (Si. 07). The wholesale 
price per packet of size stated was, in 1908, $4-35 ^^ 



300 THE EXPERT SIGN PAINTER 

$4.40 f.o.b. New York, exclusive of duty. The retail 
price in small quantities is said to be 15 or 20 per 
cent, more than the wholesale price. One of the lead- 
ing concerns in this trade furnishes the following 
wages per week as the usual rates in this industr}^ 
under normal conditions : Experienced men, 35 to 50 
marks ($8.33 to $11.90); helpers, 20 to 30 marks 
($4.75 to $7.14); gold cutters (female), 10 to 16 
marks ($2.38 to $3.81). Aluch of the labor is done 
by piece work, for which a scale of prices is agreed 
upon by employers and the gold beaters' union. Under 
the present scale the wages are approximately as stat- 
ed. About two-thirds of the output of gold leaf from 
this locality is said to go to England, the remaining 
one-third being consumed in Germany, United States, 
Canada, India, and other countries. The value of the 
declared export of this product from this district to 
the United States in 1908 was $39,648. The total im- 
portations of gold leaf into the United States in the 
fiscal year 1908 amounted to 14,796 packs of the 500 
leaves, the value being $68,417. The importations the 
previous year were 35,849 packs, worth $167,263. The 
rate of duty is $1.75 per pack. 



THE EXPERT SIGN PAINTER 301 




CHAPTER XLVIII. 
How Bronze Powder in Colors and Tin Foil Are Made. 

ERR NEIDHART gives this interesting 
description of the manufacture of colored 
bronze powders : The production of imi- 
tation leaf gold is done by power, and the 
bronze colors are simply sheets of the metal pulver- 
ized. There are four kinds, and they are alloys of 
copper or tin with zinc. It is important that the cop- 
per should be pure. The alloys are cast into semi- 
cylindrical sticks, which are first hammered and then 
rolled into ribbons. These are twisted together like 
telegraph cables and packed into a cast-iron box with 
all the rest of the space filled with coal dust to pre- 
vent oxidation of the metal, and then heated red-hot. 
They are then hammered out into bands from two to 
four inches wide and treated with tartaric acid. A 
pile is then made of fifty or sixty sheets, which is sub- 
jected to from 320 to 340 blows a minute from a ham- 
m.er weighing from 30 to 35 kg. Great care has to 
be taken to move the metal about under the hammer. 
Two consecutive blows on the same spot will dent or 
crack the metal. The pulverization is effected by 
stamps. These weigh about 55 kg. each and fall fifty 
times a minute from a height of six or seven inches. 
The fine powder thus obtained is not bright enough, 
and has to be ground in a mill. To prevent loss it is 
first made into a stiff paste with gum arabic and 
water. About 25 kg. of this paste are put in a mill 
with conical rollers for five or six hours. The gum 
is then removed by water, and the powder is slowly 



302 THE EXPERT SIGN PAINTER 

dried and oiled slightly. It is then dried in a copper 
kettle, an operation which requires much skill and 
expedience. Coal tar colors are the ones chiefly used. 

Bronze colors are turned green by damp, and black 
l:y sulphuretted hydrogen. Of late precipitated me- 
tallic oxides have been put on the market as substi- 
tutes for the metallic powders, but they are inferior 
to them both in lustre and in covering power. 

Attempts have been made to produce these metal- 
lic powders by filing and by separating a stream of 
molten metal, but so far without success. 

How IS Tin Foil Made? — Tin foil is not made of 
lead, as some think, but of tin, in the following man- 
ner: A pipe is made of pure tin, and this is fihed 
with lead ; the whole is then beaten, the same as gold 
leaf is beaten out, the tin coating spreading with the 
lead core. The three sheets which follow are some- 
times reduced to a thickness of .0001 of an inch. 



THE END. 




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One copy del. to Cat. Div. 



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